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Harry Potter: A Modern Day Hero By Ronda Anita Phillips Bailey A thesis submitted to the School of Communications of Webster University in partial fulfillment of the requirements for the Degree of Media Communications (M.A.) 17 May, 2006 St. Louis, Missouri © Copyright by Ronda Anita Phillips Bailey ALL RIGHTS RESERVED (2006) The author hereby grants to Webster University permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part for educational purposes.
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Harry Potter: A Modern Day Hero

By Ronda Anita Phillips Bailey

A thesis submitted to the School of Communications of Webster University in partial fulfillment of the requirements for the Degree of

Media Communications (M.A.)

17 May, 2006

St. Louis, Missouri

© Copyright by Ronda Anita Phillips Bailey ALL RIGHTS RESERVED

(2006)

The author hereby grants to Webster University permission to reproduce and distribute publicly paper and electronic copies of this thesis document in whole or in part for educational purposes.

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I would like to thank Dan, Valerie, Ronnie, Sheila, Margaret, Terry, Holly and Clint For their never ending encouragement, support, and love.

Mythologies are in fact the public dreams that move and shape societies. Joseph Campbell

The Mythic Image

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Abstract

Harry Potter: A Modern Day Media Hero

By Ronda Anita Phillips Bailey

“Pottermania” grows stronger and stronger with every new movie and every new

book, leaving many asking what makes the Harry Potter series so magical. Millions of

people have been bewitched by the young wizard named Harry Potter along with his

friends, Ronald Weasley and Hermione Granger. Viewers can escape into a realm where

they learn that circumstances do not have to make them victims and they too can beat the

odds. The fantastical world of Harry Potter meets the viewer’s basic need for

transcendence. Once viewers enter into the magical world they can rise above their

circumstances and stop focusing on their limitations.

The Potter series is a fantasy created world where myth-made heroes have been

embraced by popular culture. The premise of this thesis is to examine the complexities of

heroes and heroines in the Harry Potter films, along with a survey, as the primary data.

Harry Potter’s success is due in part to the main character’s ability to remain humble

while overcoming challenges that seem completely unstoppable, and often unbeatable.

The series has pushed Harry Potter into mainstream popular culture where “Potterism”

has turned the characters into modern day heroes for both children and adults.

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Table of Contents Acknowledgements ii Abstract iii Table of Contents iv Introduction 1 Premise Statement and Limitations 3 Statement of Problem 4 Methodology 6 Literature Review 8 Harry Potter: A Modern Day Hero 12

• J.K. Rowling 14 • Harry Potter: Plot Background 18 • Cultural Importance of Fantasy Themed Stories 21 • The Mythological Development of Oral 24

Interpretation to the Hollywood Screen • Claude Levi-Strauss 26 • Carl Jung 29 • Joseph Campbell 31 • Myth, Imagination, and Fantasy 51 • A Modern Hero 56 • The Morality of Harry Potter 59

Data Analysis 62 Recommendations 72 Conclusions 74 Appendices

I. Thesis Survey 79 II. Survey Results 81

III. E-Mail Interview with Reverend Ron Monteith 83 IV. Personal Interview with Dr. Sean Day 87 V. Thesis Outline 89

VI. Film Information 90 VII. Joseph Campbell’s Monomyth Pie Chart 91

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Introduction “Pottermania” and “Potterism” are two words created by journalist to describe the

sensational reaction caused by J.K. Rowling’s Harry Potter series. The characters

represent archetypal heroes reminiscent of those in Greek mythology. Harry Potter’s

success is due in part to the main character’s ability to remain humble while overcoming

challenges that seem completely unstoppable, and often unbeatable. The series has

pushed Harry Potter into mainstream popular culture giving fantasy themed stories a new

and birth turning the characters into modern day heroes for children and adults alike.

After six books, four movies, video games, toys, and collectibles being sold at an

exceedingly rapid rate, there is no doubt J.K. Rowling’s Harry Potter has become a

popular phenomenon. The first two movies are listed in the top 10 World Wide Box

Office of all time, bringing in a combined total of $10.6 billion

(http://www.imdb.com/boxoffice/alltimegross?region=world-wide). The appeal of the

Harry Potter movies was not lost with the release of the fourth movie, which had the

fourth largest weekend opening in movie history, topping $101.4 million in North

America alone.

The intended audience for these books and movies was children, but adults and

children of all ages have fallen in love with the characters portrayed within the text.

Harry Potter has sparked an interest in reading among an entire generation of youth,

where reading was thought to no longer exist in a highly electronic world. The books

have been translated into 55 languages, and the movies continue to be a world-wide

success. The movies have encouraged people who normally do not read to pick up the

books as well. As with anything in popular culture, Harry Potter does not come without

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critics who examine everything from the moral aspects of the book to the literary genius

of the author.

What has made the Harry Potter books and movies such a phenomenon with

global appeal? The answer can be found in the main characters of the Harry Potter

context; Harry Potter, Ron Weasley, and Hermione Granger, who are the underdogs that

continue to prove themselves by overcoming everyday obstacles, making them the heroes

in the end of each fable. From the Iliad to Lord of the Rings, cultural producers describe

the adventures of heroes that become metaphors for contemporary life. In the 21st

century where books are brought to life through film, heroes and heroines can be

introduced to a global population can turn the subject matter into an international

phenomenon. Such is the case with J.K. Rowling’s Harry Potter series. The myth made

hero found in Harry Potter has come alive on the big screen and in turn has been

embraced by children and adults who have found a way to connect to these modern day

heroes.

Rupert Grint, Daniel Radcliff, and Emma Watson portray Ron Weasley, Harry Potter and Hermione Granger in Harry Potter.

http://movies.warnerbros.com/harrypotter/cmp/newsflash-fr.html

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Premise Statement

The premise of this thesis is to examine the complexities of heroes and heroines

in the Harry Potter films, along with a survey as the primary data. With the continuing

controversy of the novels and movies, this thesis intends to prove "Harry Potter" provides

society with moral choices and provides genuine heroes for children of all ages, which is

important in society.

Limitations

I chose this topic because I immensely enjoy watching all the movies, and have

read all six Harry Potter books; therefore my limitation is my preexisting bias to prove to

others that these characters are modern day heroes. In spite of the criticisms surrounding

Harry Potter these movies and characters are portrayed through a modern form of

storytelling the big screen. I have a preexisting fondness for the characters and the

movies, because I find them to be more than simple entertainment but valuable characters

in teaching society about moral choices, friendships, loyalty, and truths in both good and

evil.

Other limitations in this research include secondary research for side-kicks, and

trying to stick solely to discussing the movies without intertwining the books. There are

few resources to be found in support of side-kick characters, such as Ron and Hermione,

who are essential characters and very relevant in helping Harry succeed. There parts are

larger than the part of a minor character, and are essentially Harry’s side-kicks, someone

who is in support of the hero.

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Statement of Problem

Harry Potter has stirred the waters of controversy while provoking thoughts of

morality and societal norms. The fantasy themed books and movies have caused a great

moral debate among critics, parents, and the fans that have come to embrace the

characters created in J.K. Rowling’s mythically magical storyline. The Harry Potter

series, which includes movies and books, combines fantasy, mystery, suspense, and

horror mixed with the realities people face on a day to day basis. However, because

witchcraft is part of the storyline, people have threatened book burnings, pulled children

from schools where Harry is on the reading list, and have protested the moral degradation

of society because the series is said to be influencing children to become a part of the

occult. Popular culture has not embraced this occultist idea, and Harry Potter continues

to thrive in print and on film.

Men, women, and children are drawn to Harry Potter because, despite the magic,

the characters are ordinary people and today’s children are overcoming many of the same

challenges faced by the main characters in the movie. Children see the main characters

as their friends, and adults admire the characters for their strength to overcome adversity

(Schafer 13). The Potter series is a fantasy created world where myth made heroes have

been embraced by popular culture. The premise of this study is to research the

complexities of heroes and heroines in the Harry Potter films, along with a survey, as the

primary data. With the continuing controversy of the novels and movies, I intend to

prove Harry Potter provides society with moral choices and provides genuine heroes for

children of all ages, which is important in society.

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Prior research on this topic has been studied and written about by the following

authors: Edmund Kern, Joseph Campbell, Elizabeth Schafer, Richard Abanes, Julia

Eccleshare, Francis Bridger, and Richard Campbell. Harry Potter has become a product

of our popular culture. The Harry Potter stories encourage society by developing a

modern day classical narrative where good triumphs over evil and the characters are left

to make morally challenging and even heroic decisions. A New York Times reporter

wrote the following in reference to the life lessons learned through Harry Potter:

“If Harry Potter is a reminder that not even magic can solve everything, it is also a promise of hope, sustaining the fundamental childhood belief that in the end, good really does triumph over evil, and justice is meted out to those who deserve it. Harry is an endearingly normal hero, enduring the same romantic insecurities, friendship pressures and temper tantrums that I encounter all the time, and it is oddly comforting to think that such a seemingly ordinary boy could achieve the extraordinary.” (New York Times July, 2005).

“Pottermania” in full force as fans attend the Premier of the fourth Harry Potter movie.

Wild About Harry

Fans crowd the sidewalk at the Warner Bros. Pictures premier of Harry Potter & the Goblet of Fire on Nov. 12, 2005, in New York. (Photo: GETTY IMAGES/Andrew H. Walker) (CBSNews.com) http://www.cbsnews.com/stories/2003/06/20/earlyshow/leisure/books/main559574.shtml

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Methodology

The premise of this study is to research the complexities of heroes and heroines in

the Harry Potter films, along with a survey, as the primary data. With the continuing

controversy of the novels and movies, this thesis intends to prove that Harry Potter

provides society with moral choices and provides genuine heroes for children of all ages,

which is vital to our society.

In search for topics related to this proposal, the following topics were investigated

using the following key words: fantasy heroes, media created heroes, Harry Potter, J.K.

Rowling, narrative theory, witchcraft, children’s literature, controversy and Harry Potter,

mythology, heroes, heroines, and popular culture. Research studies for this paper lead to

reviews from authors such as; Edmund M. Kern, Michael O’Shaughnessy, Joseph

Campbell, Julia Eccleshare, Bill Moyers, Claude Levi-Strauss, and J.K. Rowling. All of

these authors have put in a considerable amount of time and research into studying the

Harry Potter phenomenon and criticism surrounding the text and film, their work will be

a valuable citation in this research paper.

In order to examine the heroes and heroines in Harry Potter, this thesis will

benefit from researching the works of Joseph Campbell, an American professor known

for his research in comparative mythology. Another important figure in this research

would include Lévi-Strauss; he argued that myths served an important function in

society. Carl Jung, an analytical psychologist who influenced Campbell, is known in

media studies to have analyzed the common characteristics of fairy tales. These two men

can contribute important background research related to mythology studies

(O’Shaughnessy 137).

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Filmmakers understand the lure of the narrative, “which includes two basic

components: the story (what happens to whom) and the discourse (how the story is told)”

(Campbell, Martin 235). Harry Potter provides moviegoers with the familiar narrative

principles of problems, heroes, villains, conflicts, and resolutions.

Studios adapting literature narratives into a film narrative is certainly nothing

new. The style of storytelling depends on the narrative, the genre (i.e. fantasy themed),

and a good director who can translate the literary narrative into a successful film narrative

without losing the original translation (Campbell, Martin 235). Hollywood has been

using pre-sold story ideas with an already built in audience to create blockbuster hits,

such as Harry Potter and Lord of the Rings for decades (Dominick 233).

While Harry Potter became popular in textbook form, the first movie was an

unexpected phenomenal hit generating enthusiasm from critics and fans alike. Harry

Potter has been deemed morally corruptible for society, and hailed as hero for

encouraging children of the digital age to actually pick up a book and read. The moral

corruption stems from the witchcraft surrounding the text, be it in literature or movie

form; however, the stories are written in a fantastical themed world no different than

many of the stories produced by Walt Disney, where good conquers evil and magic is

often used to help the heroes in these stories defeat their nemeses. Harry Potter provides

mythical modern day heroes to a community of individuals who want to believe in the

extraordinary, and who want to believe they too can conquer the evils in their daily lives.

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Literature Review

Whether good or bad, the controversy surrounding Harry Potter continues to be a

hot topic in all parts of the world. Many call the main character(s) a hero, while others

condemn the books and movies for encouraging occultism, and witchcraft. This

represents two different ends of the moral spectrum where popular culture has embraced

J.K. Rowling’s series for being a fantasy film with heroes and heroines, who conquer not

only the bad guys, but the same everyday challenges muggles (non-magical folk), have to

overcome themselves. However, a hero in fantasy films surrounded by magic is not new

to our society, and the story-telling technique used by J.K. Rowling has been used by

authors and film makers long before Harry Potter. C.S. Lewis, the author of Narnia and

J.R.R. Tolkien, the author of Lord of the Rings and The Hobbit, all of which were born in

a literary genre, have made their way into film thereby exposing society to the fantasy

film hero.

Fantasy films usually involve some form of magic. They may also include

mythical creatures and will allow the main story line to take place in a fantasy themed

world; i.e. middle earth, Hogsmead, a community made up entirely of witches and

completely unknown to non-magical folk. Fantasy themed movies span several decades

which include the following movies: Bell, Book and Candle (1920), The Wizard of Oz

(1939), The Dark Crystal (1982), Labyrinth (1986), The Lord of the Rings (2001-2003),

The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005), and the Harry

Potter movies (2001-2005) (Dirks). Every society has hero figures, and though these

figures may appear different depending on the culture, all are defined by certain aspects

of their life’s journeys and their places in society. In an interview with Bill Moyers,

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Joseph Campbell says, in response to Bill Moyers the imminent timeliness of

mythological stories, “The themes are timeless, and the inflection is to the culture. The

story lines remain the same throughout time and space; it is the way the story is perceived

by the existing generation” (Moyers 42). J.K. Rowling’s storyline is not new to the

cultures who have embraced the text, but the way it is perceived is dependent upon the

cultural landscape it is introduced into.

In The Hero with a Thousand Faces, Campbell analyzes and explains the

commonalties shared by heroes, focusing on the classical Greek hero figure (Campbell,

Joseph 319). J.K. Rowling’s Harry Potter series brings to life the classical hero figure in

the young wizard known as Harry Potter. Rowling’s child hero is appealing because he

undergoes the same life cycle that every person undergoes: friendships, adolescences, and

the moral choice to choose right from wrong. Examining the narrative structure of the

movies will lead to a better understanding of the meaning of fantasy heroes in society.

The origin of storytelling is ancient, one of the most well known stories is the epic

tale of Gilgamesh, which relates the story of a Sumerian king, and is frequently cited in

history texts as our oldest surviving epic tale. While the nature of stories has changed

over the centuries, from oral interpretations to the big screen, the narrative of myths,

legends, fairy tales, and heroes still exist. These stories often play an important role in

teaching those in society right from wrong, the importance of moral values, and

encouraging religious beliefs. Myths often reflect the feelings, needs, and conflicts that

people acquire as a result of their culture (Ember 464-465).

Joseph Campbell is well known for his work in mythology and Hollywood has

come to rely on Campbell’s formula. George Lucas, creator of Star Wars, credits

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Campbell’s twelve-step mythic story structure in helping him finish his epic series.

“Lucas’ infamous indebtedness to Campbell has introduced film-makers, screenwriters,

and movie buffs the world over of Campbell’s mythological tome, The Hero with a

Thousand Faces, which distills all stories down to a single mythic story structure”

(Bancks). According to Bancks, The Hero with a Thousand Faces has become the typical

structure for Hollywood movies.

Harry Potter has become a part of culture through film and print, and continues to

reflect society’s need for a hero, even a myth media inspired hero. This research will

continue to examine the mythical modern day hero, and the moral choices provided

through the films narrative.

It is important to define certain terms which will be used throughout this research,

and we will first define the following:

Fantasy (noun) - a capricious or fantastic idea; fiction characterized by highly fanciful or

supernatural elements

Myth (noun) - a traditional story dealing with supernatural beings, ancestors, or heroes

that serves as a fundamental type in the worldview of a people, as by explaining aspects

of the natural world or delineating the customs, or ideals of society; a fictitious story,

person, or thing.

Hero (noun) - a person noted for feats of courage or nobility of purpose, especially one

who has risked or sacrificed his or her life; <Further definition and example will be

provided throughout the research>

Heroine (noun) – a woman noted for courage and daring action; the principal female

character in a novel.

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Witchcraft (noun) – Magic, sorcery; Wicca; a magical or irresistible influence, attraction,

or charm.

Magic (noun) - The practice of using charms, spells, or rituals to attempt to produce

supernatural effects or control events in nature. (verb) - To produce or make by or as if by

magic (American Heritage Dictionary).

Muggle(s) – nonmagic folk (1 Rowling 80).

The aforementioned definitions are relevant for a more comprehensive knowledge

of the research presented in this paper. Some definitions will be expounded upon

depending on the depth of the research and the necessary need for further comprehension.

Character Reference:

The Dursley’s - Harry’s relatives with whom he lives, his mother’s sister, her husband

and their son, Dudley.

Harry Potter - the boy wizard, also known as, “the boy who lived”

Ronald Weasley – Harry Potter’s best friend. He also comes from a pure wizarding family, his entire family is wizards. Hermione Granger – Harry’s other best friend. She is the first in her family to become a witch, her parents are dentists. Albus Dumbledore – Headmaster at Hogwarts and many say the greatest wizard of his time. Hagrid – Gamekeeper at Hogwarts and Harry, Ron, and Hermione’s friend.

The aforementioned characters are most widely used and the need for knowing

who they are will be critical throughout the context of this thesis.

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Harry Potter: A Modern Day Hero

The Harry Potter series has become a publishing phenomenon and has also made

the movie industry billions. Many have called Harry Potter the hero of media publishing,

because the series has breathed new life into the print industry. Others have called Harry

Potter a hero for encouraging an entire generation of technology fed children to pick up a

book and read. The movies have even inspired those who did not initially read the series

to go back and read the books. Perhaps Harry Potter has magically transformed the

publishing industry, but the boy hero has truly given the world a modern day hero in a

fast paced world of high-tech gadgets and never ending schedules. Harry Potter has

given readers and viewers the opportunity to slow down, sit back, and escape into another

realm; a realm where the hero continues to learn, teach, and inspire Potter fans

everywhere to use their imaginations.

Harry Potter is a fantasy-themed story exploring the typical journey of any hero.

The text is full of magical creatures from centaurs to sphinx; as well as, unicorns, flying

cars, dragons, and ghosts who live amongst mortals and are all brought to life on the big

screen as viewers discover the truths about loyalty, bravery, death, choice, and the power

of love. Harry is a hero with the same qualities and traits all humans possess, this makes

him accessible to viewers and readers alike. Good versus evil is essential in any

mythical, fantasy-themed storyline, and Harry Potter certainly provides character conflict

allowing the hero the opportunity to prove him self while overcoming great odds.

The classical fantasy formula is used in Rowling’s text as well, moving from the

real world to the fantasy world, and then returning to the real world. Other story lines

that followed this pattern include: Peter Pan, The Hobbit, and The Lion, The Witch and

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The Wardrobe. The world of Harry Potter exists alongside the everyday world, witches

and wizards exist alongside muggles who remain unaware of this magical world. In

Harry Potter the two worlds exist simultaneously and the characters from the wizarding

world mingle in and out of both worlds with relative ease.

Harry Potter is a text steeped in mythology with a desire for the young heroes to

succeed and conquer all obstacles placed in their way. Harry Potter has become a well

known modern day hero whose story has been brought to life on the big screen where he

and his friends are seen and loved by millions of adoring fans. Harry Potter is popular

because it is a story in which everyone can identify. The storyline produces empathy in

millions of people around the world as it recounts the tale everyone enjoys, the tale of a

hero.

Heroes embody a spiritual manifestation with God, which is the design of

humanity’s desire. Human beings desire a relationship with a higher power, a

relationship with God (Rev. Monteith). Gilgamesh, King Arthur, Luke Skywalker, the

four children in Narnia are representations of people’s fascination with the heroic and

endorses the belief of an individual standing out, able to save their world from evil. The

heroic myth develops a message which is brought forth through the characters maturity.

Harry Potter represents the hero of today because, although timeless, his story is

developed to take place in the cultural society of the twenty-first century where today’s

people can relate and do understand his journey, for they too are on one themselves.

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J.K. Rowling J.K. Rowling

Harry Potter has been called a publishing phenomenon.

The book series has sold more than 300 million copies

worldwide, translated into over 55 languages, and has made

Rowling the first person to ever become a billionaire by w

books. “Her welfare-to-billionaire status is a true Cinderel

story, all happening within a ten year time period” (Watson).

Background knowledge on Rowling is important in understanding the Pottermania

well as the characters in Harry Potter, especially since many of the characters and sc

share some of the same traits as the author herself.

riting

la

, as

enes

Rowling was born on July 31, 1966; Harry Potter shares the same birthday but

mystery and speculation surround the year in which he was born. Rowling was born in

England, and so it is natural for the stories to take place in the surrounding area. Rowling

describes herself as being petite, with busy red hair, freckles, and glasses; much like her

character Hermione Granger. Rowling’s love for animals can be seen in her gamekeeper

character, Hagrid (Kirk 12-13). Rowling’s childhood friend’s surname was Potter, and

when she began to write her novels she chose this name for her main character simply

because she “liked it and had fond memories of playing with the Potters as a young child”

(Kirk 14). Friendship plays a crucial role in the text, as Harry, Ron, and Hermione

continue to prove the importance of true friendship continually throughout the six novels

and four films. Although Rowling was an adult when her mother died, the love of her

mother is very important to her, and the scene from Harry Potter and the Sorcerer’s Stone

when Harry discovers the Mirror of Erised—desire spelled backwards - is the author’s

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favorite scene and was inspired by the loss of her own mother. The love of Harry’s

mother and the loss of his parents are the crux of the plot, the emotional center. The

death of Rowling’s own mother was an artistic outlet which drove her to continue writing

(Kirk 53).

J.K. Rowling, the wizard behind Harry Potter admits to being influenced by text

steeped in mythology such as Lord of the Rings authored by J.R.R. Tolkien; Narnia

authored by C.S. Lewis; The Little White Horse authored by Elizabeth Goudge; and by

author and journalist Jessica Mitford. Since childhood Rowling has always been

interested in writing and exploring fantasy themed worlds, writing her first story around

the age of six titled “Rabbit.” The story was about a rabbit that had developed measles

and was visited by friends, which included a pig, a fox, and Miss Bee. As Rowling grew

and developed during her school years she focused her studies in French and English

languages, and received her degree from Exeter University (Kirk 16).

Upon receiving her degree she worked a number of jobs, quitting or getting fired

from many, because all she really wanted to do was write. In 1990 while traveling via

train to London, the idea of a boy wizard attending a boarding school to perfect his craft

developed and she began to write Harry Potter. Rowling’s mother died the same year.

October 16, 1992, while still working on Harry Potter, Rowling was married. She has

confessed that it was not a happy event for her, and married in black. In her third book

she includes the date as a warning for one of Harry’s classmates, Lavender Brown,

predicting the thing she most dreads will occur. Once again Rowling mirror’s her own

life in the text (Kirk 56). By 1993, Rowling gave birth to her first daughter, divorced her

husband, and had to accept government aide (the equivalent to welfare in America). It

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took five years after her London train trip to finish the first book, which she typed on a

manual typewriter (Kirk 51). She worked as a French instructor while waiting to hear

back from publishers.

In June of 1997, Harry Potter and the Philosopher’s Stone was

published. The novel was renamed for American audiences to Harry

Potter and the Sorcerer’s Stone due to the fact that the sorcerer’s stone

is more common in American mythology. Three months after the first

book went to press, Scholastic books purchased the rights to the first text for $105,000

making publishing history for a children’s book (Kirk 77). The first book was a huge

success, and Rowling won literary awards in England, but she continued to work and had

already started on book two.

By the third book, Harry Potter and the Prisoner of Azkaban, Rowling and Potter

were a global success. Pottermania had begun and a scramble to produce a movie was

underway. In 2001, the first book was turned into a movie, and the Harry Potter hype

continued to grow, soon placing Rowling on Forbes 2004 World’s Richest People list

(Forbes 2004). No one could have predicted the success Harry Potter would bring

Rowling, not even she could have predicted the success, and has said simply, “I just

wrote the sort of thing I liked reading. I didn’t expect lots of people to like them, in fact,

I never really thought much past getting them published” (Gaines 27). The movies have

proven to be a success and part of this can be attributed to Rowling, who has maintained

creative control so as to ensure the film remains as close to the print version as possible.

Rowling’s own mythical journey is not much different than that of her fictional

characters: loss, rejection, success; and the journey continues for both her and her

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characters. Every culture has hero figures, and although these figures may ostensibly

differ from one another all are defined by certain aspects of their life’s journeys and their

places within society. While society has recently dubbed Harry Potter a hero, only time

can determine if he will remain a hero for future generations.

Warner Brother Movie Posters:

The Sorcerer’s Stone The Chamber of Secrets

The Prisoner of Azkaban The Goblet of Fire http://en.wikipedia.org

For movie release information see Appendix VI.

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Harry Potter: Plot Background

Harry Potter is the name of a book series, of which six out of seven books have

been published. The first book proved popular enough that Warner Brothers bought the

rights and has began making the books into movies. The movies and books represent a

world of witches and wizards, the main character being a young wizard named Harry

Potter. Each movie chronicles a year of Harry’s life at Hogwarts, the Wizarding School

where he learns about magic and life, his life.

Harry Potter is not an ordinary boy. He was born to two great wizards, James

Potter and Lily (Evans) Potter. His parents were killed when an evil wizard, Lord

Voldemort, was empowered by the fear he instilled in witches and wizards in the

wizarding community. Lord Voldemort reigned with a group of followers called Death

Eaters. Harry’s father and mother died while trying to protect their infant son. Harry was

sent to live with his maternal mother’s sister, Aunt Petunia, Uncle Vernon, and their son

Dursley. When Harry turns 11, he is invited to attend Hogwarts. His relatives are

completely against anything that is not considered normal and forbids him to attend.

Hagrid, the Hogwarts’ gamekeeper, intercedes and Harry leaves for school. Harry makes

friends and enemies instantly upon arrival. Draco Malfoy quickly becomes Harry’s

archenemy when Malfoy introduces himself by sneering at Ronald Weasley, who is

standing near to Harry, and tells him he can help him figure out, “who the right wizarding

families are Harry replies, “I think I can tell the wrong sort for myself.” This bonds his

friendship with Ron. The two boys form a close friendship with Hermione after they

save her from a troll. The three soon learn about the sorcerer’s stone hidden in the vaults

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below the school and must combine their talents in order to save the stone and the

wizarding community from Voldemort’s possible return to power.

In Harry's 2nd year at Hogwarts he is confronted with a magical and mysterious

elf. He learns that his gift to speak to snakes is a dark wizard’s trait which turns his

friends away from him. But when he learns about the Chamber of Secrets, a supposed

myth of tunnels under Hogwarts where an evil monster is thought to live and has awoken

putting students in danger, Harry must find a way to help save his friends and his school.

In order to save Hogwarts Harry will have to have the help of his best friends, Ron and

Hermione.

In Harry's 3rd year Harry is haunted by the grim, a large black dog that represents

death. A convicted killer is on the loose and is said to be coming for Harry, his name

Sirius Black. Black is an animagus and can turn himself into a large black dog-the grim.

For the first time Harry is not safe, not even within the walls of Hogwarts. His new

Defense against the Dark Arts professor, Remus Lupin is a werewolf, he learns about his

father and what he was like when he was a student at Hogwarts, and meets his father’s

inner circle of friends, Remus Lupin, Sirius Black and Peter Pettigrew. Harry, Ron, and

Hermione soon find themselves trying to save Sirius and capture Peter Pettigrew, the real

killer, and one of Voldemort’s Death Eaters, whom escapes.

In Harry's 4th year, he is entered in to the Tri-Wizard Tournament unbeknownst

to him. The tournament is reserved only for wizards and witches 17 years of age and

older, and Harry finds he has no choice but to participate when his name emerges from

the Goblet of Fire. During the tournament challenges Harry is forced to confront

dragons, maintain friendships, fight water demons, and battle Lord Voldemort.

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Each movie grows darker and finds Harry, Ron, and Hermione leaving childhood

behind while continuing to develop life-long friendships in their heroic journeys together.

Warner Brothers DVD Jackets:

The Sorcerer’s Stone The Chamber of Secrets

The Prisoner of Azkaban The Goblet of Fire

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Cultural Importance of Fantasy Themed Stories

For centuries, cultures have created myths, stories, and folklore to teach societal

rules. These stories were told to children to teach them about conformity, and the rules

expected within their culture. Cultures still use myths and stories to teach societal

lessons, only the method has changed; instead of oral interpretation people in the twenty-

first century turn to narrative movies. The process of story-telling manifests the mythic

explanations of the world while providing cultures with a model of what is accepted

within the boundaries of society (Day Interview).

“All cultures, both past and present, love myths” (Hirschman 3). Although myths

have a new outlet through movies and television, they continue to teach society about the

origin of the universe, the role of science and technology, how men and women should

behave towards one another, how to fight and overcome obstacles, and always good from

evil (Hirschman 4). Mythological movies, like Harry Potter, give society a mythical

explanation of the world while providing a cultural template for those in society. Harry

Potter confronts real life issues such as death, heartache, hope, friendships, international

cooperation, and moral integrity. Although Rowling does not always give an explanation

as to why these things are relevant, she opens a door allowing her characters and viewers

to contemplate life’s consequences. Viewers don’t always want a why; because they

know there isn’t always an explanation to answer the why. Viewers like knowing that the

heroes don’t always know why either (Day Interview).

Mythological stories have deep roots in all cultures, continuing to pass on vital

knowledge and wisdom to those within society, as well as succeeding generations. These

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mythological stories provide an intellectual framework which can be integrated into

existing and learned experiences. Preserving, embracing, and defining these

mythological stories is important to the storytellers, and those who gain or continue to

gain knowledge learn to assimilate and make sense of internal and external experiences

(Abanes 66). Cultures use mythological stories to set boundaries, to create and establish

rules, and to develop and grow as a society.

What is society learning from Harry Potter? What is this mythological story

teaching cultures today? Harry Potter provides a moral code which upholds family

values, genuine warmth towards all people, and social values with rules and hierarchies

based on order and control. Schafer writes, “Harry confronts adversity in an honest and

honorable manner, he strives to help those in need, and he seeks to live by a code of

conduct that is just as good” (234). Hermione, Ron, Hagrid, Dumbledore, and other

characters within the text of the movies also portray many of these attributes, which in

turn allows the viewer to learn from the mythological story.

Harry Potter is a mythological story teaching society how to develop friendships,

and how to justly and fairly live with those whom you will not always agree. J.K.

Rowling does not shy away from controversial social topics which are relevant to today.

For example in movie two, The Chamber of Secrets, racism is an issue that has to be

dealt with by the three main characters. An informal hierarchy is revealed to exist among

the wizarding community separating pure-bloods from muggle born. Pure bloods are

born to pure wizarding families and are considered the best within this hierarchy.

Muggle blood witches may have one or more muggle born parent. Derogatory labels are

introduced, for example mudblood is used to describe those of a mixed heritage. Ron is

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seen immediately defending Hermione when Malfoy, their archenemy, begins to call

Hermione a mudblood. Viewers learn that racism is unacceptable and should not be

tolerated within society, and that the heroes will not tolerate this degradation on any

level.

In the fourth movie, The Goblet of Fire, viewers are introduced to an international

wizarding community where the students of Hogwarts have to learn to communicate and

tolerate those with backgrounds, dialects, and belief systems different from their own.

International Cooperation becomes an apparent theme throughout the movie. With

students from different countries where all characters within the text must learn to accept

the cultural differences of others. Issues of tolerance, diversity, wealth, and race are

apparent in the fourth movie as it attempts to teach social equality.

Harry, Ron, and Hermione do not intentionally set out to teach but because of

their innate goodness and desire to improve their own lives and the lives of those around

them, they become good role models and good teachers from which today’s society can

learn valuable lessons. Joseph Campbell believes that man typically celebrates tales of

heroes and their deeds in order to understand his own place in the universe (11). The

Greeks, Romans, and the middle ages all created mythological heroes and today’s

cultural societies are no different creating heroes for society on the big screen. Heroes

still must take arduous journeys, confront dragons, and change the world with their

courageous acts. They become symbolic figures in whom the rest of society can look to

as an example of how to live life.

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The Mythological development from Oral Interpretation to the Hollywood Screen

Albert Cook, author of Myth and Language, writes, “The oral-aural, as Marshall

McLuhan has taught us, tribalizes a society. The individual in such a society lacks what

we think of as a special personal identity; he is defined wholly and comprehensively by

his membership in a group” (6). We become a part of that group when we share a

commonality which often comes in the form of an anecdote.

Narratives help individuals to make sense of their experiences, their surroundings,

and even their lives. People within cultures put their experiences into story form when

sharing the ordeal with others, “this seems to be a cultural process shared by all societies;

humans tend to relate experience through stories” (O’Shaughnessy 106). The evolution

of technology has extended from oral interpretation to Hollywood’s big screen. Stories

are still told, but now they are translated onto the big screen, which has proven to be an

efficient means of distributing cultural values. Mythical stories are often categorized as

escapism, and entertainment, but this belittles the integrity of those who find great

strength, courage, and hope when they engage in watching mythical movies like Harry

Potter.

These stories are well developed and structured using a basic structural pattern.

Harry Potter follows the same narrative structure seen in other mythological themed

movies where the hero has to make a life journey, face challenges, and make conquest.

Viewers relate this to their own lives and understand this is mythology but see a utopian

of hope. Campbell says, “Mythology teaches you about your own life. It’s a great,

exciting, life-nourishing subject. Mythology has a great deal to do with the stages of life,

the initiation ceremonies as you move from childhood to adult responsibilities. All of

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those rituals are mythological rites (Moyers 11). Harry Potter is set on a ritualistic path

and must follow his own journey in finding himself while facing the obstacles placed

before him Viewers can relate to such a journey, and this is what makes Harry so

popular.

If a small boy can overcome Lord Voldemort, the most powerful and evil wizard

of all time, then viewers can also overcome his or her problems as well. O’Shaughnessy

writes, “Many cultural products have a utopian element to them: they point to the

possibilities of a better world” (138). Viewers want to relate and they want to see a light

at the end of the tunnel. Millions have found this in Harry Potter.

In the first movie Harry defeats Lord Voldemort twice; once in the beginning as a

baby and then again proving to himself and to others that, even though he doesn’t know

how or why he was able to defeat Lord Voldemort the first time, he has an inner strength

to overcome obstacles that seem greater and bigger than him, “just Harry” (Radcliffe The

Sorcerer’s Stone). Viewers identify with this defeat because they too often face the

unconquerable, and if someone who sees himself as an individual with no special talent,

and no special gifts, which is how Harry sees himself in the first movie, can do it, then

the viewer thinks he or she can also defeat the unconquerable myths in his or her own

life.

Viewers have learned from the characters to be brave and to believe in

themselves. Even if the viewer cannot face their own challenge immediately, they can

find comfort in knowing there is an archetype, a hero battling evil and good will conquer

in the end. As human beings we want to believe good will ultimately conquer evil in the

end.

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Lévi-Strauss and Myth

Lévi-Strauss is a structural anthropologist who is known for his studies in

mythology. Structural anthropology is based on Levi-Strauss’s ideas that people think

about the world twofold—ins and outs, highs and lows, life and death; every culture can

relate to these concepts. Levi-Strauss studied and wrote a four volume work on

mythology titled Mythologique. He believes that myths are strongly structured stories

(Strenski 130). According to Strauss, “Some claim that human societies merely express,

through their mythology, fundamental feelings common to the whole of mankind, or they

use it to explain phenomenon which they can not understand” (206). Strauss believes

that myths give solutions to cultural problems, providing a framework of how to live.

In "The Structural Study of Myth," Levi-Strauss is interested in explaining why

myths from different cultures from all over the world seem so similar. Given that myths

could contain anything--they aren't bound by rules of accuracy, or probability--why is

there an astounding similarity among so many myths from so many widely separated

cultures? (Strauss 208). One of the discussions surrounding Harry Potter is the

transcending of all cultural borders, and why and how this has happened. Levi-Strauss

gives the answer in his study of mythology by placing it in his structuralized ideals.

Levi-Strauss says that structural analysis should only approach “that which can be so

explained” and only the following fields are open to structural study—mathematics,

music, natural languages, and myths (Strauss 626). Myths are important stories within a

structural framework that often repeat. The story line in Harry Potter is not new in

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cultural societies and is one that is synonymous with other mythological stories told

within and among civilized cultures.

Levi-Strauss insists that myth is a language because myth has to be told in order

to exist. “Myths deal with the central problems and contradictions felt by a culture; in

story-form (they were often about gods and heroes) they played these conflicts out to a

resolution giving societies a framework for how to live their lives” (O’Shaughnessy 137).

In Harry Potter, the author presents many social complexities that the viewer faces either

on a daily basis or at some point in his or her life. Some of the issues brought forth in the

text include: racism, class hierarchy, abandonment, wealth and poverty, loyalty,

friendship, and bravery. Myths can and do serve a utilitarian function for many societies.

Levi-Strauss looks at the structure of the myth and not the content. While the

content can change from culture to culture the structure of the myth generally remains the

same. For example, the hero is defined, the hero undergoes trials and tribulations, usually

with success, and completes a journey. Regardless of the storyline, the cultural need is

the same; societies need and develop myths in order to learn, teach, and grow in everyday

life. The structural method of the myth is to bring order to chaos (Klages). Levi-Strauss

would argue the popularity of Harry Potter lies in the structure of a well developed

mythological story in which all audiences can continue to grow and learn from the

characters within the storyline, because the structure has not changed.

The mythological narrative is a structural narrative following a basic pattern often

seen in fantasy themed stories. Harry Potter’s narrative structure is nothing new, but

what makes this story so interesting for viewers is that the characters don’t exist in a

parallel worlds, they interact between two worlds, magical and non-magical, while

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confronting the same everyday challenges viewers often find themselves facing. The

Harry Potter series fits the Levi-Strauss paradigm in that the plot line is a rebirth of

classical mythological stories. Although the story line changes the structure of the myth

remains the same. The story is told in repetitive layers allowing the myth to grow while

maintaining the structure, which can be seen in the Harry Potter movies. Levi-Strauss

structuralist approach in examining mythological stories is proven helpful in determining

Harry Potter’s heroic relevance in society, which according to the structuralist theory of

Levi-Strauss, Harry Potter is relevant in cultural societies because the narratives provide

a framework for how to live (O’Shaughnessy 137).

While Levi-Strauss makes a valid contribution, there are other theorists who have

a strong input in defining the societal need for mythological story telling including Carl

Jung and Joseph Campbell. Jung will briefly be examined here because of his influence

on Joseph Campbell, who is held in high regards throughout Hollywood for his

monomyth formula.

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Carl Jung: Archetypes

Carl Jung developed the psychological framework for archetypes, which he

describes as genetic blueprints for ideal types of behavior. “Jung argues that archetypes

or archetypal figures and behaviors are inscribed in mythological figures, these figures

are to guide and teach us how to act in certain ways” (O’Shaughnessy 148). Carl Jung

believed that myths were collective dreams which the human subconscious used to help

direct an individual in his or her day to day life. Jung considered myths to be collective

dreams, personal myths stored in the collective unconscious part of the human mind

where memories are stored. Dr. William Indick writes,

“They are the individual expression of personal unconscious issues, amplified into visions and projected onto a screen in the ‘theater of the mind,’ in the form of a personal movie. Experiencing a modern myth in the form of a film is, in a Jungian sense, a transcendent experience, because when we identify with the hero and vicariously experience his journey, we transcend our own private conscious existence and integrate a collective cultural archetype. Furthermore, as a function of the film-going experience, we transcend our own individual neuroses, allowing ourselves to commune with the rest of the audience through a shared understanding, integrating the collective encounter on a personal level” (Journal of Medical Psychology Volume 9).

The audience conforms to a collective culture that shares and believes in the same

ideals, which gives them a sense of validation and belongingness into a cultural entity,

while raising up the archetype. O’Shaughnessy writes, “The hero who journeys

successfully through his or her tests and trials is the most obvious archetype” (148). The

collective audiences of Harry Potter see Harry, Ron, and Hermione as the heroes and

collectively have elevated them to hero status.

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Strauss and Jung both concentrated their efforts in discerning the role and

meanings of myths and stories within the human society. Joseph Campbell, however,

suggests that universal human patterns and truths exist in myths. Campbell’s model is

structured around Jung’s model of the archetype hero. In The Hero with a Thousand

Faces, written by Joseph Campbell, he explains and analyzes the commonalities shared

by almost every hero, and though these archetypes may differ all are defined by their

life’s journey and their place within society.

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Joseph Campbell: An authoritarian on mythological heroes

“Joseph Campbell is my Yoda” (George Lucas).

George Lucas is one of the most well known storytellers in movie making history.

He credits Joseph Campbell’s knowledge in mythology for helping him to finish his epic

masterpiece Star Wars. Whether or not J.K. Rowling has read any of Joseph Campbell’s

work or not is not known; nevertheless, her hero, Harry Potter, follows the same

mythological heroic path as described by Joseph Campbell in his book, The Hero With A

Thousand Faces. Critics have said that Rowling’s books seem to be written for the big

screen, because the books fit into Campbell’s structure of the hero’s journey so well.

Campbell’s guidelines for mythological storytelling have become synonymous in

filmmaking.

In his own study of the archetype hero Campbell discovered that all stories

basically tell the same tale, retold in infinite variations. This is how Campbell developed

the monomyth, a chart or map that shows the common stages through a story, most

commonly known as the hero’s journey. Dr. Indick writes, “The monomyth refers to the

basic elements of myth, the archetypal qualities of all legends and heroes, which

transcend individual cultures and specific periods of time; the monomyth is universal and

timeless” (6). Hollywood writers have become strong believers, and many stories are

written around Campbell’s monomyth pattern. Appendix VII has a copy of Campbell’s

monomyth wheel. It is believed that if the writer or viewer understands how to decipher

this chart then he or she can write or depict the hero’s journey.

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Campbell explains that man celebrates the tales of heroes and their deeds in order

to explain his or her own place in the universe (11). In other words, Campbell sees the

primary hero as a symbol of the individual and his adventure as the symbol of his life.

Heroes innately represent modern man and the different phases of life in which everyone

must pass: childhood to adolescence, adolescence to adulthood, and adulthood to old age.

The hero symbolizes growth, wisdom, and maturity through all stages of life, which is

what men do as well. Harry Potter fans have watched him cyclically grow in every phase

of the movie, as each movie represents one year of Harry’s life. Viewers have seen Harry

grow from an innocent child into a young mature teenager, and the movies have

cyclically shown the growth of the hero. Producers have not been afraid to show portray

the darker images in the hero’s journey. Each movie has progressively become darker,

unafraid to show or touch on more sinister themes, which are common in mythological

story lines.

In Campbell’s research he has encountered the same storyline framework

throughout the world; basically all stories tell the same tale. The stories commence with

a hero’s birth, Campbell states “hero hood is predestined, rather than simply achieved”

(319). Many heroes arise from humble origins to command the respect of others. The

hero comes into the world as an innocent only to quickly find himself orphaned due to the

evil or the force that he must one day confront. He then must wander alone for days,

months, and even years in order to learn about survival and self-sufficiency, childhood

exile. The story begins when the hero living among ordinary men receives the call to

adventure. He reluctantly accepts, and often needs a magical aide to encourage him onto

the path. Once the hero crosses the threshold, the tests and trials begin. The hero will

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then descend into an abyss of uncertainty, become resurrected, and finally return

victorious.

To better understand Campbell’s monomyth process the following pages include

Campbell’s monomyth structure next to the Harry Potter storyline in order to compare the

structural framework of Rowling’s text in order to prove that Harry Potter is a modern

hero. Since Harry is the most prominent character his mythic chart stands along, Ron and

Hermione’s chart will come after Harry’s analysis.

The Birth of the Hero

Campbell Harry Potter

Rank:

Class of high-ranking parents Harry’s parents were wealthy, well-known, and both considered to be very talented witches

Birth preceded by difficulties Before Harry stopped Voldemort, “these were the hardest times in the wizarding community.” Good battling Evil where evil seems unstoppable.

During pregnancy there is a prophecy threatening danger to the father

Almost one year after Harry’s birth, his parents are killed by Lord Voldemort.

He is cast into the water Harry is removed from the wizarding community and left to be cared for by his Aunt and Uncle until he becomes of age, eleven when he can return and attend school.

Saved by poor people Harry’s relatives are English middle class, but Harry is poor. They share nothing with him, give him old clothes that are too big for him, he receives no birthday or Christmas gifts and is often treated like a servant.

Grows up and finds his high-ranking parents or world to which he belongs.

On his eleventh birthday Harry finds out he is a wizard and belongs to the family of the wizarding community.

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The Heroic Adventure

Campbell Harry Potter

I: Departure

The call to adventure- the heroic figure is made aware of a place beyond the world he has known his whole life.

Harry’s Letter to attend Hogwarts

Refusal of the call-The call is ignored or denied.

The Dursley’s intercept Harry’s letter and refuse to let him attend

Supernatural aid-magical intervention is needed to encourage the hero, or assist the hero in starting the journey.

Hagrid delivers the letter personally and takes Harry to the train station

Crossing the first threshold-A portal or threshold represents the transition into the world of adventure.

Trial 1- Harry Potter and the Sorcerer’s Stone Harry’s first trial is crossing Platform 9¾ which sets him on the path of his heroic journey. Harry must prevent an evil force from obtaining the Sorcerer’s Stone. The gateway to proceed with the adventure presents itself when encountering Cerberus-the gate guardian, a three-headed dog owned by Hagrid named Fluffy. Trial 2 – The Chamber of Secrets In the second movie Harry must enter into the bowels of the school in order to save Genny Weasley and the school from Lord Voldermort’s younger self, Tom Riddle who has opened the chamber. The trial is locating the doorway – which is located in Moaning Myrtle’s Bathroom. Myrtle herself was the ‘key’ to opening the gate. Trial 3 – Harry Potter and the Prisoner of Azkaban Harry begins to learn more about his past – the story of his parent’s death, and he begins meeting his father’s circle of friends. A key threshold is the ‘opening’ of the Whomping Willow entrance by Crookshanks, Hermione’s

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Cat. The more dramatic threshold is when Harry joins Hermione in defying time by use of the Time Turner, in order to save the life of his godfather, Sirius Black and Buckbeak (a mythical creature). Trial 4 – Tri-wizard Championship Harry Potter and the Goblet of Fire Harry never crossed the threshold around the Goblet of Fire to enter the contest, he was an unwilling participant. His new adventure is launched by entering the room off the Great Hall, where the participants gathered and his name is called. Due to the rules of the Tri-Wizard cup Harry is forced to participate in the tournament.

The belly of the whale-The hero finds themselves in some sort of trial where they must use their abilities (and develop their unrealized abilities) in order to progress.

Harry Potter and the Sorcerer’s Stone: Harry has to jump through the trap door into the schools vault in order to find the stone. Harry Potter and the Chamber of Secrets: in the bowels of Hogwarts when searching for Ginny Weasley. Harry Potter and the Prisoner of Azkaban: when Harry goes into the whomping willow to save Ron. Harry Potter and the Goblet of Fire: when Harry travels through a time portal and ends up in a graveyard with Lord Voldemort.

II: Initiation

The road of trials-Each task prepares the hero to pursue the ultimate mythological goal. These trials show the hero as moving from childish behaviors to self-reliance. This is his personal evolution from personal limitations to unrealized potential

The Sorcerer’s Stone: Learning to fit into a new world while learning about a past that had been hidden from Harry for eleven years. The troll in the bathroom, the three headed dog, the night in the forbidden forest, entering the vaults. The Chamber Of Secret’s: Harry learns about Lord Voldemort and the inherent characteristics shared by the two; i.e. they both speak parcel tongue-a language used only by dark wizards to talk to snakes.

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The Prisoner of Azkaban: Harry becomes acquainted with his father, James, closest friends and must accept the true identity of his father. He must also decide the fate of a friend who betrayed his father thus leading to his father and mother’s death. The Goblet of Fire: Harry is forced to participate in the Tri-Wizarding games. He battles dragons, water demons, and an enchanted maze in order to save his life. When Harry is transported to a graveyard via a portkey at the end of the maze he must duel Lord Voldemort and return his friend, Cedric who died upon entering the graveyard, back to Hogwarts before the portkey closes.

The meeting with the goddess-The goddess figure is representative of the Earth Mother or source of life. She may be approachable, as the hero’s mother, sister, and beloved.

Harry has only participated in casual acquaintances with the opposite sex and a soul goddess has not fully emerged. Although there are several women in the series, many either take on the motherly role, or a friendly role. Professor McGonagall and Hermione are currently the two constant figures in Harry’s life.

Temptation away from the true path-The hero is tempted to by evil and asked to join the dark side.

Harry is constantly being invited to join forces with Lord Voldemort. The Sorcerer’s Stone Draco Malfoy tells Harry he can help him make friends with the ‘right’ wizarding families. The Chamber of Secret’s Tom Riddle, Lord Voldemort in his youth through an enchanted diary, invites Harry to join him and his legions in darkness. The Prisoner of Azkaban: Harry must decide the fate of the man who betrayed his family ultimately leading to their deaths. The Goblet of Fire: When Harry is fighting Lord Voldemort in the graveyard he is once again given the chance

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by Voldemort himself to join him.

Atonement with the Father-a parental figure is responsible for guiding the hero through the journey

There are many father like figures in Harry’s life, some better than others. We first meet Harry’s Uncle, Vernon Dursley who is cruel and unkind to him in all regards. We are then introduced to Professor Dumbledore who protects Harry from afar and develops a great fondness for Harry. There is also his godfather Sirius Black who is introduced to viewers in movie three, The Prisoner of Azkaban. His father James Potter whom he learns about more and more with each passing year at Hogwarts. And the evil Lord Voldemort who kills Harry’s parents and curses the young boy creating his destiny. When Harry faces Lord Voldemort in movie three while learning about his past, his father, and their commonalities.

Apotheosis (becoming god-like)-a realization of the essence of life. This may be achieved through conquering an enemy.

When Harry truly defeats Lord Voldemort. This has yet to take place either, but I believe that this will take place when Harry leaves Hogwarts and becomes of age-a mature wizard which is at the age of 17 in the wizarding world (this is leading up to the final movie/book 7.)

The ultimate boon-a blessing bestowed upon the hero.

This will come when Lord Voldemort is defeated, if he is defeated. Redemption of the magical world

III: Return

Refusal of the return-The hero is reluctant to return to his other world because he is afraid others will not be able to comprehend, or understand what he has been through.

This has not yet happened in the movies, but does happen in book six; so it is yet to come.

The magic flight-Once the hero has received his blessing, or obtained the necessary treasure (information) needed to inform or heal others he is to return and share this with the community.

The Sorcerer’s Stone: Harry comes back from the vaults to share with admirers that the Sorcerer’s Stone is safe, and Voldemort was unable to return to power. The Chamber of Secret’s: Harry returns from the school vaults with Ginny after having rescued Ginny Weasley.

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The Prisoner of Azkaban: Harry returns from this journey unable to share the good he had done on this journey, because Sirius Black is thought to be a murderer, wrongly accused but the proof escaped when Peter Pettigrew ran into the forest. Therefore Harry is unable to share the good deeds from this adventure with anyone except for Ron, Hermione, and Dumbledore who guided his path from the beginning. Harry can only relate that Voldemort’s rise to power may happen soon. The Goblet of Fire: Harry returns from the end of the Tri-Wizarding challenge with Cedric Diggory’s body. Cedric and Harry are both competitor’s in the tournament, but when the trophy turned into a portkey and transported them to a graveyard Cedric was instantly killed. Harry returns the body to his family, so that they may grieve and heal. This time Harry can confirm that Voldemort has risen to power.

Rescue from without- The hero requires the outside world to pull him back from the adventure.

The Sorcerer’s Stone: Dumbledore rescues Harry from the vault just in time. Harry was fighting Professor Quirrel, the body inhabited by Voldemort. The Chamber of Secrets: Dumbledore sends his Phoenix, a mythological bird with healing powers, to help Harry in the Chambers defeat a Basilisk, extremely large snake hatched from a chicken egg. The Phoenix, Fawkes, has healing powers and is able to heal Harry after he has been bitten by the snake. The Prisoner of Azkaban: Dumbledore advises Hermione and Harry on what they need to do in order to save his godfather and the winged creature Buckbeak form death.

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The Goblet of Fire: Dumbledore rescues Harry after the tournament from Barty Crouch Jr. who is about to kill Harry.

Crossing the return threshold-The hero must return to the real world after his adventure.

At the end of every term Harry must return to the Dursley’s for the summer, via train, the Hogwarts Express.

Master of the two worlds-The hero must come to an understanding that the two worlds exist simultaneously, they are one. The hero must examine and explore and learn how to bring the two worlds together.

The magical world and the muggle world. Harry is coming to understand the two worlds in which he currently goes between, but has not quite mastered them together. The train away from Hogwarts gives Harry, Ron & Hermione a time to reflect on the years events.

Freedom to live-The hero must learn to live between the two worlds and bring them together. This is the final threshold of the hero’s journey. He can pass freely through the two realms.

The Sorcerer’s Stone: Is an initial adjustment. Learning the wizarding community and their rules versus the non-wizarding community. But because Harry is humble and grateful to be away from the Dursley’s he does his best to adjust to his new world. Chamber of Secrets: Harry has a little difficulty returning to the Dursley’s because they continue to stifle him and treat him poorly. He is rescued from his room by the Ron Weasley and his brothers using a flying car. The Prisoner of Azkaban: Harry loses his temper and blows Vernon Dursley’s sister into a blimp; she begins to grow larger and larger until she floats away. The Goblet of Fire: By the fourth movie Harry seems to be transcending between the two worlds with ease. White magic is victorious over dark.

Common Mythic Elements

Two Worlds (mundane and special) Non-magical Community vs. The Magical Community

The Mentor Sirius Black

The Oracle Professor Dumbledore, Ministry of Magic

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The Prophecy Harry must defeat Lord Voldemort

Wearing Enemy's Skin

In The Chamber of Secret’s Ron and Harry drink poly juice potion and turn into Crab and Goyle, in order to ask Draco Malfoy who the heir of Slytherin might be and how to open the chamber. And Harry bears a lightening bolt scar left by Voldemort’s first attack; it hurts Harry when he is near. Under the invisibility cloak.

Shape-shifter (the Hero isn't sure if he can trust this character)

Doby the house elf, and Professor Snape, Rita Skeeter, Mad-Eye Moody

Animal familiar Doby, a house elf Hedgewick, Harry’s Owl Crookshanks- Hermione’s Cat, Scabbers, Ron’s rat, which turns out to be Peter Pettigrew the friend who betrayed Harry’s family.

Chasing a lone animal into the enchanted wood (and the animal gets away) Brennan, Kristen. http://www.jitterbug.com/origins/myth.html

The Sorcerer’s Stone: Lord Voldemort’s spirit escapes from the chamber while Harry and Professor Quirrel are left fighting. The Unicorn’s adventure in the forbidden forest. Chamber of Secret’s: Harry is chasing after the heir of Slytherin, and the basilisk which continues to escape into the chambers of the schools. The Prisoner of Azkaban: Sirius Black, who morphs into a dog, watches Harry from the forbidden forest and escapes into the woods every time Harry tries to find him or confront him. Pettigrew, Ron’s rat turned back into a man, escapes into the woods to Lord Voldemort. The Goblet of Fire: During the Quidditch World Cup Harry sees a man project the dark mark, Lord Voldemort’s mark with a wand, calling the Death Eaters, Voldemort’s follower’s to gather. Before Harry can see who the man is he escapes into the woods.

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Harry is a hero set apart at birth due to the horrific murder of his parents by Lord

Voldemort, who Harry will one day have to confront. Harry demonstrates his chosen

status when he, as only an infant, defeats one of the most powerful wizards of the day,

Lord Voldemort. Not even the most accomplished wizards have been able to stop

Voldemort. A prophecy is not directly stated, but hinted by the centaurs in the forbidden

forest when they are seen reading the stars. The hint of a prophecy in Harry Potter links

his story to the same framework of the heroes of yesteryear.

The death of Harry’s parent lead to a magical protection over the child as his

mother sacrifices herself for the life of her infant son. Her loving sacrifice places a

powerful and eternal protection over the infant whom Voldemort cannot defeat because it

is “old magic,” a mother’s eternal love for her child. Voldemort became nothing but a

shadow and Harry is considered a savior in the wizarding community. This solidifies

Harry’s character as a force above evil, a mythical hero descended from gods. The event

links Harry to Voldemort forever, who eventually regains power. Harry is then cast out

of the magical world for his own protection and sent to live with relatives. Once it is

made known that Harry is destined for greatness, he must undergo a difficult childhood,

during which time his status as a hero has faded from the minds of those who hail him as

a hero (Campbell 321-334).

Harry’s childhood is dismal and described by Campbell as the “long period of

obscurity,” the first stage of the heroes journey (326). Once it is time for the hero to

begin his journey, he may need assistance crossing the threshold. In Harry’s case, his

Uncle Vernon was prohibiting him from opening his letter and being allowed to leave for

Hogwarts, a boarding school within the wizarding community. This is where Harry’s

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magical or spiritual assistance comes into the mythology. Hagrid, a combination of witch

and giant, has to go and get Harry from the Dursley’s, “the hero is covertly aided by the

advice, amulets, and secret agents of the supernatural helper whom he met before his

entrance” (Campbell 97). Hagrid takes Harry to Diagon Alley, a portal that connects the

wizarding world with muggle world. Once Harry arrives at Hogwarts Hagrid meets him

once again to take him and all the other first years to the school,

“The fleet of little boats moved off all at once, gliding across the lake, which was as smooth as glass. They were carried along a dark tunnel, which seemed to be taking them right underneath the castle, until they reached a kind of underground harbor” (Rowling 112).

Campbell writes, “Beyond the first threshold are darkness, the unknown, and danger”

(77). Harry Potter has now crossed the first threshold of his adventure where dragons,

elves, three headed dogs, spiders who can talk, trolls, and other dark and mysterious

creatures, along with Lord Voldemort, await their confrontations with the boy who lived.

Harry Potter does differ from many past heroes in that he becomes the guardian in

his new world. Campbell describes the hero’s adventure when he leaves his home the

“parental watch or protection of his society” (77). Yet at the end of the first movie, The

Sorcerer’s Stone, Harry tells his friends “I’m not going home, not really” implying that

his home is at Hogwarts and within the wizarding community. His return to his aunt and

uncle’s home is merely a short vacation for him; Hogwarts is his home.

After Harry crosses the first threshold, crossing into the wizarding community, he

must meet and assimilate his opposite, unsuspecting self (Campbell 108). Upon arriving

at Hogwarts each student must be sorted into one of four houses. This is done by placing

the sorting hat, a magical hat on the head of each student. The hat then places each

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student into their perspective house, which could be any one of four: Gryffindor,

Slytherin, Hufflepuff, or Ravenclaw. Gryffindor, known for its honorable and brave

occupants and Slytherin known for cunning, ambitious, power-hungry, and mean

occupants are the two most popular houses in the school. When Harry puts the hat on his

head he asks not to be put in Slytherin, “the hero discovers and assimilates his opposite”

(108). Harry’s innate goodness places him in Gryffindor, whose alumni include

Professor Dumbledore, Hagrid, Professor McGonagall, and Harry’s dad, James.

Once Harry has crossed into these initial thresholds, he is on the path of a hero’s

journey. Perhaps unaware of it himself; others in the wizarding community certainly

recognize and see him as the hero. Harry is humbled every time he leaves the wizarding

community to return to his aunt and uncle’s home. No one there thinks of him as a hero,

and they don’t care what happens to him while at school. Perhaps this is to build his

courage and self reliance so that when he does face evil he can sustain himself by calling

on the power from within. Harry’s trials center around defeating Lord Voldemort, saving

his friends, and saving himself; the battle between good and evil is timeless and one in

which audiences can identify.

Harry chooses good over evil and his selfless and courageous nature enables him

to win the ultimate boon, “the ease with which the adventure is here accomplished

signifies that the hero is a superior man” (Campbell 173). Bridger writes, “Potter’s story

is an old one and the most basic: good versus evil, the stories are, at heart, moral tales”

(43). Campbell writes, “The usual person is more than content, he is even proud, to

remain within the indicated bounds,” but the hero is heroic, he does what everyone else

either will not or cannot do (78). Harry Potter defeated Voldemort as an infant; he went

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into the schools vaults after the stone; he went into the chambers to save Genny, he faced

his father’s true enemy and rescued a magical creature and his godfather, fought

Voldemort in the cemetery and brought his friends body back, all characteristics of a true

hero. Harry’s path is that of the typical hero, but a hero usually has friends along with

way who intercede and help along the way, Harry is no different. Ronald Weasley and

Hermione Granger assist Harry in his epic journey as equals. They are on the same level

as Harry: the same age, the same amount of wizardry training, and their strengths fill in

Harry’s weaknesses; they complete him.

Ron is from a pure wizarding family, no muggle relations whatsoever. He lives in

the wizarding community and his father works for the ministry of magic. He is the sixth

of seven children, and the youngest boy. Ron feels as though he must prove himself

because he is the sixth to attend Hogwarts and all five of his brothers have been

extraordinary in their own way, and he feels as though he cannot do anything they have

not done before him. Ron values his friendship with Harry and Hermione above all else,

this encourages his strengths and makes him a valuable hero throughout the series.

Hermione is muggle born, very studious, curious, and loyal to Harry and Ron.

She is the top witch in her year, which proves to be helpful as her logic and wit are often

what helps in working out the clues during each epic. Hermione is often encouraging

Ron and Harry both to do the right things, to study hard, and to use a little logic before

jumping into the fire. Her loyalty, bravery, and friendship prove to be valuable assets in

her own heroic journey.

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Campbell Ronald Weasley Hermione Granger

I: Departure

The call to adventure Leaving for Hogwarts Leaving for Hogwarts

Refusal of the call Ready to go Ready to go

Supernatural aid Hagrid, Dumbledore Hagrid, Dumbledore The Magical World The Magical World

Crossing the first threshold

M1: Conquerors a Troll to save Hermione; going into the vault M2: Defending Harry when no one else Falling into the Chambers M3: Being sucked into the Whomping Willow M4: Defending Harry when no one else will

M1: Upon receiving the “Daily Prophet” and putting together the clues to what is in hiding beneath the schools vaults; and going into the vault M2: Falling into the Chambers M3: Jumping into the hole of the Whomping Willow M4: Helping Harry learn Charms and Spells in order to successfully compete in each match

The belly of the whale

M1:School Vaults, the game of chess M2: Entering the Chamber M3: Ron’s rat, Scabbers is an animagi and turns into Peter Pettigrew M4: His own selfishness in learning to accept that Harry does not want to be the chosen hero and the fame that he has attained is a burden for him.

M1: School Vaults, escaping from the Dragons Snare & calculating which potion to take M2: Being called a mudblood, and having to accept that it is okay to be a muggleborn witch. Also, going to the library, learning about the basilisk and going back to tell Ron and Harry when she is petrified M3: Using the time-turner, so that her and Harry can save Buckbeak & Sirius. M4: Working through the clues and helping Harry learn charms in order to help him succeed

II: Initiation

The road of trials M1: The troll in the bathroom, the three headed dog, entering the vaults, Dragons Snare the game of Chess. M2: The Whomping Willow, Standing up to

M1: The troll in the bathroom, the three headed dog, the night in the forbidden forest, entering the vaults, Dragons Snare, and the potion room. M2: Being called a Mudblood, Polyjuice potion, being petrified

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Malfoy, Polyjuice potion, Aragog (the spider in the woods), entering the chamber M3: The Dementors, The Boggart, Attacked in the middle night, while asleep, by Sirius Black, Being swallowed by the Whomping Willow, Watching his rat Scabbers turn into Peter Pettigrew M4: The Quidditch World Cup, helping Harry in the tournament

by the basilisk. M3: The Dementors, The Time-turner, attempting to legally save Buckbeak, entering the whomping willow, facing Sirius Black, Facing a werewolf, using the time-turner to save Buckbeak, and Sirius M4: The Quidditch World Cup, helping Harry learn charms and spells in order to properly compete (Plays a bigger role in the book here rather than the movie)

The meeting with the goddess/god

Fleur Delacour Victor Krum

Temptation away from the true path

Ron is tempted only is his occasional jealousy of Harry and the fame he has.

Hermione is a non-conformist, although she is constantly trying to prove that she does follow the rules. She has not been truly tempted up to this point.

Atonement with the Father

Hagrid, Sirius and Dumbledore

Hagrid, Sirius, and Dumbledore

Apotheosis (becoming god-like)

Defeating Lord Voldemort Defeating Lord Voldemort

Redemption of the magical world

Redemption of the magical world. The ultimate boon

III: Return

Refusal of the return Is yet to come Is yet to come

The magic flight M1: Ron is embarrassed but sheepishly accepts the praise for his game of chess played in the vaults M2: Returns with Harry from out of the chambers to bear witness of the events in Dumbledore’s office M3: Ron, Harry, and Hermione quietly discuss their triumphant.

M1: Hermione is praised for her “cool use of intellect” while in the vaults in the potion room of the vaults M2: In hospital wing M3: Ron, Harry, and Hermione quietly discuss their triumphant.

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Rescue from without M1: Hermione brings Ron around after the Chess game and takes him back up into the castle. M2: Ron, Harry, & Genny return out of the Chambers with Fawkes M3: Ron is taken to the hospital wing by Snape

M1: Hermione returns to the castle with Ron M2: Awakes from her petrified state

M4: Ron realizes the importance of friendship, when Harry’s third task is to save Ron from the merpeople at the bottom of the lake.

M3: Hermione and Harry return via the time-turner M4: Hermione has a true understanding of International Cooperation and a better understanding of those closer to home.

Crossing the return threshold

The train away from Hogwarts

The train away from Hogwarts

Master of the two worlds

Ron remains in the magical world, but has little understanding for the muggle world

Hermione crosses between the two worlds, and seems to have a good understanding of how to function between both

Common Mythic Elements

Two Worlds (mundane and special)

Real world vs. magic, good vs. evil

Real world vs. magic, good vs. evil

The Mentor Dumbledore Dumbledore, Professor McGonagall

The Oracle Ministry of Magic Ministry of Magic

Harry is the chose one to defeat Voldemort

Harry is the chosen one to defeat Voldemort

The Prophecy

Drinking Polyjuice potion to become Goyle. Peter Pettigrew, an animagus disguised as a rat. Under the invisibility cloak.

Wearing Enemy's Skin

Under the invisibility Cloak

Shape-shifter (the Professor Snape, Professor Snape, Rita Skeeter,

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Scabbers, Crookshanks, Victor Crum, Rita Skeeter, Moody

Moody Hero isn't sure if he can trust this character)

Animal familiar Basilisk, Animagus: Sirius Black, Professor Lupin- a werewolf, and Peter Pettigrew, Crookshanks

Crookshanks, Professor Lupin-werewolf, basilisk

Aragon in the Forbidden Forest

Unicorn in the Forbidden Forest Chasing a lone animal into the enchanted wood (and the animal gets away) M1: The Sorcerer’s Stone, M2: The Chamber of Secret’s, M3: The Prisoner of Azkaban, M4: The Goblet of Fire

While Ron and Hermione may not be one hundred percent on the typical heroes’

journey, both have proven themselves to be heroes on the same journey as Harry.

Argument and speculation could be made that these two would probably never have been

put on the path if they had not befriended Harry, but they did and they have proven

themselves heroically admirable time and again. Ron and Hermione bring their own

strengths and weaknesses to Harry Potter, and are both eager to prove their loyalty,

honor, and courage to themselves as well as the wizarding community.

While Ron plays the secondary hero in Harry Potter, he is still a crucial character.

His ability to play, “The best game of chess Hogwarts has ever seen,” proves crucial in

order for Harry to move forward in the vaults to save the stone (Dumbledore, Sorcerer’s

Stone). Ron is protective of Harry and Hermione and heroically defends them both, as

can be seen in the second movie when he stands up to Malfoy for calling Hermione a

mudblood, which is a derogatory term in the wizarding world. In the third movie, Ron

proves his loyalty during Harry's confrontation with then-supposed-murderer Sirius

Black, Ron declares while trying to stand on his broken leg, "If you want to kill Harry,

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you'll have to kill us too!" This is a strong statement showing viewers Ron's steadfast

loyalty to his friends and his heroic bravery to not back down in a tough situation.

Hermione is known as the “brightest wizard of her year,” and uses her knowledge

and wit to help Harry. Ron, Harry, and Hermione become friends after Ron and Harry

save her from a troll, and she in turns takes the blame and punishment so that the boys do

not get in trouble. This permanently seals their friendship and makes Hermione also a

secondary hero. Hermione helps Harry in saving the sorcerer’s stone, not through magic

but through logic. When they are in the vaults, they enter into a potion room where her

wit and logic help her to decipher which bottles are poisonous and which are not. In the

second movie, it is Hermione who brews the Polyjuice potion allowing the boys to

change into Grab and Goyle, Malfoy’s best friends, so that they can interview Malfoy

about the chamber of secrets. She is also the one who identifies the monster in the

chamber as a basilisk. In the third movie, Hermione uses her time-turner to help Harry

go back in time to save Sirius Black and the hippogriff, Buckbeak. In the fourth movie,

Hermione punches Malfoy in the face for his threats, proving her strength and courage to

not back down from a tough situation. Hermione also spends time teaching Harry charms

and spells that will help him in the tournament tasks. Hermione proves herself through

her knowledge, loyalty, bravery, and courage to face difficult and unsuspecting

challenges.

Although Ron and Hermione did not start out directly on Campbell’s path, they

are nevertheless on the path and proving themselves to be strong, reliable heroes through

their own bravery and heroic deeds. According to Campbell:

The standard path of the mythological adventure of the hero is magnification of the formula represented in the rites

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of passage: separation-initiation-return: … A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man (30).

Harry, Ron, and Hermione have all experienced the separation, the initiation, and the

return of the hero’s journey. All three entered the Hogwarts Express leaving behind their

families and venturing forth alone into the magical, unexpected world of Hogwarts. All

three have faced the trials and separations that no ordinary person would venture to face,

and all three have returned to share the boon. These modern day heroes are proving that

the hero’s journey is still strong and still must be taken, regardless of the path.

Although Rowling says she did not write the Harry Potter series for the big

screen, her writing style transfers easily into Campbell’s paradigm of a classic hero,

which is a writing style on which Hollywood has become dependant on, it is a sure

method with block buster hits that include: Star Wars, Spider-Man, The Lord of the

Rings, and of course Harry Potter. Harry Potter is on the standard path of the

mythological hero, and his journey is well represented in Campbell’s monomyth

paradigm: separation/departure, initiation, and return, and this translate into a modern day

hero whose story is being told on movie screens the world over. O’Shaughnessy implies

that the media uses Campbell’s ideals in essentialist view—approaching human nature as

universally the same throughout culture and throughout history—and reflecting this

essential nature (154). The popular success of Harry Potter resonates with the already

existing beliefs and ideals of the audience, which in the case of Harry Potter would be

billions of fans, this is one of the reasons it is popular, people can relate to the heroes

within.

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Myth, Imagination, History and Fantasy

Harry Potter is steeped in mythological allusions ranging from the archetype hero

to the mythological creatures like the Centaurs, the unicorns, mermaids, trolls, and giants.

Harry Potter is a modern day hero, so how can these things exist in a modern world?

This is also part of the Harry Potter charm; once again it is not explained away, it simply

exist. Of course, in the series, it is justified by Hermione who tells Ron and Harry over

and over again that the magical world has enchantments and spells working to protect and

keep the mythical world hidden from muggles.

The allure of Potterworld stems from the magnificent imagination, rich detail, and

visual imagery provided by Rowling and exceptionally translated onto the big screen.

Campbell says, “There is something magical about films” (Moyers 17). In The Power of

Myth, Moyers asks Campbell about myths and how they will translate in a modern

medium, and he replied, “I see the possibility of new metaphors, automobiles have gotten

into mythology, into dreams” (18). What would Campbell have to say about the flying

car in The Chamber of Secrets? Perhaps he would confirm that myths are the realities in

an individual’s dreams, and this makes for good story telling and for great movies.

Dreams are a part of one’s imagination and can only be interpreted by an analogy

through a myth. “Jung speaks of two orders of dream, the personal dream and the

archetypal dream, or the dream of mythic dimensions” (Moyers 42). Some dreams have

a clear interpretation; whereas other dreams have a deeper meaning and often come from

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the archetypal person within our subconscious (Moyers 42). Harry Potter lives in a

fictitious mythical world, a place that exists in dreams for many of its viewers.

Most myths stem from Greek and Roman mythology, and heroes are born from

the gods and goddesses who were connected to their civilizations. In creating the child

hero, Rowling uses many of the ancient hero archetypes found in mythology. These

archetypes make the story universally appealing because they are idealized versions of

the cycles that every person must experience in life—childhood, adolescence, the

departure from one’s parents and the reintegration into adulthood.

Because myths and stories are the subconscious of an individual’s mind, there are

often realities and bits of history entwined, thus making it easy to use the myth in order to

influence cultural norms. The fantasy world is combined with what the audience knows

is real. Kern writes, “The writers draw upon human history to comment upon the human

condition. In doing so, they elaborate upon age-old themes and illustrate how they still

inform today’s world” (191). There are many real elements in the Harry Potter text that

draw on historical and past mythology.

For example, Platform 9 ¾ is not an actual platform, but it does have a significant

meaning. When workers of the train station go beneath the surface the columns below

are marked as they are above, used as markers so the workers will know where they are,

9 ¾ is marked. Beneath the station, between platforms 9 and 10, so the story goes: there

was once a good queen who fought off the Romans trying to protect the women of her

tribe from being beaten and raped, she died in battle and is buried at 9 ¾ below the train

station. Workers have said they have seen or felt her presence (Trevisick). Whether or

not this is true, it is a legend told in and around England, a familiar story combined to

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embroil the myth in mystery and intrigue for those who live in England, and those who

are familiar with the story.

In the first movie, The Sorcerer’s Stone, Rowling uses the story of Nicholas

Flammel and the philosopher’s stone as the background for Harry’s first adventure.

Whether or not the viewer knew about the stone it did not matter. A brief background or

history was provided within the text. Nicolas Flammel was a 14th century alchemist,

which is another strong topic throughout the Potter series-alchemy, who was born in

Paris. He was always searching ancient knowledge and studying the art of alchemy. It is

believed he discovered the sorcerer’s stone, which is believed to provide eternal life.

Question and mystery surround Flammel’s research and death to this day. Two hundred

years after his death his tomb was exhumed to reveal only an empty tomb. The real quest

of alchemy is to find one’s true self (Trevisick). Did Flammel create a stone that allows

one to cheat death? Another intriguing mystery surrounded in legends and mythological

tales.

Kern implies that Rowling uses the past to make her stories more appealing. The

realistic feel of the narrative comes from the suburban qualities of Little Whinging, where

Harry’s relatives live and where he lived on a regular basis until he turned eleven. Kern

writes, “The characters are so clearly the products of past events and display an acute

awareness of them should suggest to readers/viewers how important a historical

sensibility is to the narrative” (194-195). Rowling combines history, legend, and myth in

an epic fantasy which conveys moral lessons.

The creatures of mythology cannot be left out because they often play an

important role in the narrative. There are many mythical creatures in the Harry Potter

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series which include: a three headed dog named Fluffy, a hippogriff, a basilisk, centaurs,

sphinx’s, unicorns, mermaids, trolls, giants, fairies, elves, and werewolves. In movie

three, The Prisoner of Azkaban, audiences are introduced to an animagi, a person who

can transform themselves into an animal while retaining a human’s intellect; however,

they do loose a sense of right from wrong, hence the werewolves who try to remain good.

While this is something students and viewers witness in the first movie, The Sorcerer’s

Stone, the most defined characters who practice the skill most often is strongly

represented in the third movie. These characters are used to convey moral lessons from

which the hero and the audience can learn.

In the third movie, the hero learns how to conqueror fear when he is put in the

path of dementors, creatures who symbolize the debilitating effects of depression and

madness. Fear is a very human emotion which all humans face. Harry teaches society

that in order to conqueror ones fear one must face that fear (Kern 201). Some of the

mythical pests, such as the grindylow, hinkypunk, kappa, pixie, and poltergeist, “are

symbolic of the unexpected difficulties and uncertainties that life so indifferently places

in an individual’s way,” as in real life the hero and the viewer often have to face

unexpected difficulties and how to pick and choose one’s battle (Kern 200). Using these

legendary creatures to communicate moral lessons in a clever hidden way makes the

lesson apparent to the viewer without making the audience feel as though morality is

being thrust at them.

Two important mythological symbols which should not be ignored, because they

too often represent the hero and his nemesis, are the lion and the snake; these two animals

often represent good and evil and do in Harry Potter as well. The lion is interpreted as

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brave, courageous, and strong, all the qualities of a hero. The snake represents evil,

danger, untrustworthy, and sneaky, all the characteristics of evil. Each house at

Hogwarts is represented by an animal, the lion is the house of Gryffindor, Harry, Ron,

and Hermione’s house, and the snake is the house of Slytherin, Voldemort’s and Draco

Malfoy’s house. Kern writes, “By placing the two related pairs in conflict, she structures

the epic struggle at the core of Harry’s adventures” (203). Using these mythological

symbols in which audiences can and will relate to as good and evil for they have

appeared in mythological stories throughout time. In Genesis, of the Bible, it is the

serpent that tempts Eve and forever changes the relationship between God, who

represents all things good, and man. In C.S. Lewis’s Narnia, Aslan is a lion who

represent all things good. The lion and the serpent have a long history in mythology and

are symbols in which people can easily relate, naming the lion a hero and the serpent a

darkness of evil.

In examining the past, Rowling is able to place the heroes in a world that

promotes morality and conveys virtues. The images, animals, and history allows the

narratives to take the heroes on a mythological journey where good struggles against evil.

“Rowling’s makes him the product of a past and gives him the intellect to recognize it’s shaping influence upon the future. And she place shim in a near-contemporary world, resembling our own, which combines numerous elements, both familiar and fantastic, drawn from history, legend, and myth” (Kern 207).

By placing the series in a “near-contemporary” world it becomes appealing to the viewer

and makes the hero more realistic to the audience, thus the success of Harry Potter.

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Harry Potter, a Modern Hero

Harry Potter is the protagonist in a series of seven books, of which six have been

published and four films have been created for the big screen. According to a news

report from the BBC, Harry Potter has been named the greatest screen fantasy hero of all

time according to a 2005 UK Sci-Fi Channel poll. The boy wizard competed against well

known contenders such as Buffy the Vampire Slayer, Spider-Man, and Terminator II.

The poll was created to highlight the tenth anniversary of UK Sci-Fi and included heroes

and villains from fantasy, sci-fi, and superhero comic books (BBC News).

Set in England, the books and the movies chronicle the life of a young boy by the

name of Harry Potter, whose wizard parents were killed by the evil Lord Voldemort.

Harry escaped death with a lightening bolt scar on his forehead. A powerful, but good

wizard in the magical community, Albus Dumbledore, felt Harry would be safer if he

were raised by his muggle relatives and this is where the story begins. On his eleventh

birthday, Harry learns of his magical heritage when he is invited to attend the school of

Hogwarts.

In The Hero with a Thousand Faces, Campbell explains and analyzes the

commonalities shared by almost every hero, focusing on the classical Greek hero figure,

beginning with the hero’s birth where “hero hood is predestined, rather than simply

achieved” (Campbell 319). Campbell also delineates the archetype of the hero’s

existence as “a separation from the world, a penetration to some source of power, and a

life-enchanting return” (35). Rowling’s main hero, Harry Potter, is almost killed shortly

after birth, but escapes the death curse with only a lightening bolt scar to his forehead.

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He is then separated from the magical world where he is raised as an orphan by muggle

relatives, who would never speak of magic because it simply is not normal.

Harry Potter is not the first film hero to be orphaned and raised by relatives.

George Lucas introduced audiences to Luke Skywalker in his epic film Star Wars during

the mid 1970’s who was orphaned, set a-part at birth, fated to be great and noble, rising

above his peers. Harry demonstrates his greatness from the very beginning of the text,

because he is the first to defeat Lord Voldemort as a mere baby. Not even the most

powerful wizards of the time could claim such a defeat. A prophecy is then created as

most all heroes have a prophecy they must fulfill; even Luke Skywalker had a prophecy

to fulfill. The prophecy is what has allowed the books and films to remain so incredibly

popular. It states Harry will one day kill Lord Voldemort, no doubt Ron and Hermione

will be a part of this epic journey, and audiences want to know if this prophecy will be

fulfilled and how it will come about.

A hero stands a part from the crowd because he or she does something

extraordinary that others within society may not have the courage, or will to do or

perform. Hero’s are role models in society and therefore they are generally known to

possess positive moral fiber and solid ethical characteristics. Harry, Ron and Hermione

confront adversity in an honest and honorable manner; they strive to help those in need,

and strive to live a life of goodness and truth. “Harry, Ron, and Hermione demonstrate

self-discipline to excel at their studies in order to become effective wizards. They also

recognize the value of teamwork and cooperation, thinking of the well-being of their

peers, and their community, more than they regard their individual ambitions and desires”

(Schafer 235). The aforementioned statement portrays their heroism and the

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characteristics that make a good hero. Harry and his companions demonstrate

worthwhile characteristics which include, but are not limited to the following: honesty,

courage, loyalty, trustworthiness, and compassion. Richard Abanes writes, “They display

loyalty and courage, reject materialism, eschew race and class distinctions, and hold an

aversion to blatant evil (for example murder, hatred, torture). The “good characters also

show great compassion for the weak, downtrodden, and hurting” (144). We see the

characters, in all four films; attempt to care for those whom they see as less fortunate. In

film three, The Prisoner of Azkaban, the new defense against the dark arts teacher is a

werewolf, immediately unknown to the three main characters; however he is seen as

poor, disheveled and weak, and when their nemesis and his cronies make fun of the

instructor our heroes defend him, his character and his social status. Harry and Ron both

certainly understand being poor and not having items of great material wealth.

The characters in Harry Potter are the perfect examples of contemporary mythical

heroes. Harry Potter exemplifies the paradigm myth: a mythical model that embodies the

cultural reality of an era. The characters exemplify the distinctive traits found in heroes

and heroines, and viewers apparently agree with the morality and character portrayals

found within the movies. Heroes in today’s realm are created through fictional tales, and

are created to be admired while entertaining. Viewers are able to relate to Harry Potter

and his friends because of his implicitly human journey and imperfections, still look up to

them because of their extraordinary situations, and bravery.

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The Morality of Harry Potter:

The characters in the Harry Potter series have come to serve as role models for

many of its fans. The characters themselves are learning life lessons and these lessons

are exposed to the billions of fans on the big screen. One of the importance reasons

behind mythology is to teach society conformity or societal rules. Harry Potter and his

friends do endure their own life lessons, which are often lessons fans have already

experienced, need guidance in, or are currently experiencing.

Julia Eccleshare author of, A Guide to the Harry Potter Novels, writes,

“Rowling has written a series that is deeply humane, with real warmth towards all people; one that is based on the most conventional morality. While she subverts the external details of life, she has clearly defined moral code which in the domestic context upholds family values – the large, loving Weasley family is well brought up, with children obeying parents on matters of importance, though sufficiently full of spirit and prankish to be fun; and social values, with rules and hierarchies based on order and control. Rowling makes her points about society’s values strongly. As with many other fantasy stories the struggle is between opposing forces good and evil” (71).

Rowling’s characters are meant to be positive, moral characters. Her intended audience

was children and as an author and mother she was deeply aware of her responsibility in

creating positive moral characters. Rowling’s has said, “If you’re writing about evil you

genuinely have a responsibility to show what that means” (Schafer 233). Yes, some of

the characters are pranksters, usually harmless pranks, and some often break minor rules,

but the reality is who does not. This is what makes the narratives realistic and easy for

viewer and readers alike to relate to the characters and learn for the narrative. When the

characters break serious rules they are often punished and this is not hidden from the

audience.

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The Harry Potter series does not shy away from tough moral and social issues.

While the movies and books point out issues they do not make the choice for the

audience, this decision is left for the audience. Viewers learn to seek guidance from

others, or work through the problems on their own, which is how it is in life.

A few themes running through the Harry Potter series include: differences in race

and wealth, equality between nations, inner fears and questions about loyalty,

camaraderie, and the growing pains of adolescence. These themes teach societal lessons

while giving viewers the choice to choose. Harry, Ron, and Hermione are seen making

the choices and having to decide right from wrong; while their struggle is viewed by the

audience.

In Harry Potter audiences, have to suspend their disbelief and enter into a fantasy

realm in order to truly enjoy the narrative wrapped in mythology. Viewers have to be

willing to believe in fantastical elements made about them so that they can accept what is

going to unfold within the mythological narrative. Kern writes, “Because her imagine

world is set in a very real historical period, and because it relies upon verifiable aspects

of the historical record beyond the purely fanciful, it resembles our own in more than a

few ways” (227). The fictional universal exist as a part of our own in the reality of moral

consciousness, leaving the viewer to make assess problems on their own. Rowling

questions the issues of moral and social ambiguity and leaves the answer for the viewer

to find on their own.

The three main characters are aware that they are being watched and demonstrate

upstanding moral behavior. While it is not always to do the right thing, and the three

characters are certainly not perfect which makes them believable and all that much more

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popular; they certainly do put their best efforts forward. Schafer writes, “The magical

trio realize that study and knowledge are more powerful than magic, and they learn to

nurture and rely on their intelligence instead of the illusions of sorcery” (235). They are

smart enough to realize that magic does not solve problems and do not rely on magic to

save them from the predicaments they often face. These characters understand their

moral obligation and need to educate themselves beyond magic in order to succeed.

“Brilliant,” said Hermione. “This isn’t magic—it’s logic—a puzzle. A lot of the greatest wizard’s haven’t got an ounce of logic; they’d be stuck in here forever.”

--Hermione to Harry Book One, p.285

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Data Analysis

Survey Questions One and Two are combined in the below chart:

The following table shows demographic of female and male participation

in a survey which was given out to twenty individuals who have seen the Harry Potter

movies. The survey was e-mailed to friends living in Mississippi, Georgia, Virginia,

Texas, and South Carolina. Once received via e-mail it was randomly handed out to

people in government jobs, non-government business positions, factory jobs, medical

professions, and a mix of individuals passing through a library. The survey was designed

to target men or women eighteen years of age and older. Although it was not intentional

ten men and ten women filled out the surveys which made the survey results very

interesting, for a future study in men versus women in mythological viewing habits.

Percentage of Age & Gender of Harry Potter Surveyor's

0

10

20

30

40

50

60

18-24 25-31 32-38 39-44 45-51 52-58 59 &Older

Age Brackets

Per

cent

age Men

WomenTotal Participation

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Survey Question Number Three:

The following chart depicts the percentages of men, women, and combined totals

of those who have watched the Harry Potter movies. It also reflects the popularity of the

series, with a 15% increase in viewer ship from movie one to movie four. Once again,

this survey was not designed to separate the men from the women, but the survey shows

that the women have been steady viewers since the first movie perhaps this is due to a

mother child ration, which will be examined in survey question five.

Percentage of Surveyor's Who Have Seen the

Harry Potter Movies

020406080

100120

TheSorcerer's

Stone

The Chamberof Secrets

The Prisonerof Azkaban

The Goblet ofFire

Movie Title

Perc

enta

ge MenWomenTotal

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Survey Question Number Four:

Survey question number four (below pie chart) was a yes or no question, but three

people wrote in that Harry Potter was the first fantasy themed movie they had ever seen.

One individual wrote, “I never watched such movies until Harry Potter, they simply

never appealed to me; but I have read all the Harry Potter books and simply had to see the

movies. I am drawn to the characters, and may now even watch some of the other

movies in this genre. I simply love the Harry Potter series” (Unknown Surveyor).

Surveyor's Who Watch Fantasy Themed Movies

Yes, 85

No, 0HP is a First, 15

YesNo

HP is a First

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Survey Question Number Five:

While the pie chart below compares the number of children per household, it also

looks at the ratio of children to men versus children to women. In survey question three

results eluded to the possibility of women watching Harry Potter from the beginning

because they may or may not have children; however, the results below show that the

number of men, whose children are living in their household, is higher than that of the

number of women with children living in their household. However, if you include the

grandmother with four children then the statistics could possibly prove that women are

watching Harry Potter because of their children, but this is only speculation and further

research would have to be done to make this conclusion. Although it is interesting that

the percentage of households with children versus households with no children is about

equal, so children cannot be a deciding factor in who chooses to watch Harry Potter

movies. Grandparents were not considered when the survey was put together, but the

grandmother wrote herself in along with the ages of her four grandchildren. Although

these children probably do not directly live in her household, a category was created

under the percentage of households with children.

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Percentage of Households with Children

22%

20%

7%

51%

MenWomenGrandmotherCombined

Percentage of Households with NO Children

28%

22%

50%

Men WomenCombined

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Survey Question Number 6:

Survey question six (graph below) is a vitally important question in the survey

because if none of the characters were considered heroes then there would be no premise

for this research. The researcher had not intended on separating the male’s responses

from that of the females but realized the women had different and often more responses

than the male’s survey response forms. The lead female character in Harry Potter

received twice as many votes from that of the male’s response forms; and the women also

voted for Hagrid, the loveable gamekeeper, no men voted for this character at all. In the

first movie, Hagrid initially rescues Harry Potter from the home where he had just been

attacked and his parents killed. He is also seen rescuing Harry from the Dursley’s,

Harry’s mean aunt and uncle, and takes him to Hogwarts. Kirk describes Hagrid as

being, “one of the most well known and beloved, and certainly the most soft-hearted

when it comes to animals, gamekeeper in all of literature” (13). Another character briefly

mentioned in the first movie is a mythical creature, a centaur named Firenze, who rescued

Harry from Lord Voldemort in the Forbidden Forest.

It is no surprise that Harry Potter topped the list with a total of eighteen out of

twenty votes, 90% of the votes. Ron followed closely behind with eleven out of twenty

votes, 55%, and Hermione received nine out of twenty votes, 45% of the votes. The

patriarch, Albus Dumbledore, received a total of four out of twenty, two men and two

women. Only one individual said he did not think any of the characters were heroes but

gave no explanation for his answer.

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Percentage of Heroic Characters

020406080

100

Har

ry P

otte

r

Ron

ald

Wea

sley

Her

mio

neG

rang

er

Hag

rid

Alb

usD

umbl

edor

e

Fire

nze

Non

e

Character Names

Perc

enta

ge CombinedMenWomen

“Harry Potter risks his own life for his friends!” moaned Dobby

--Dobby the house-elf, Book Two p. 179

Survey Question Number 7:

Francis Bridger, author of A Charmed Life, writes, ‘It is important to note that

Harry Potter, at heart, is a moral tale” (43). Surveyors apparently agree with this

statement. Everyone who filled out the survey found the characters to be worthy of

both positive morals and ethical traits. But what is morality? The American Heritage

Dictionary defines morality as: The quality of being in accord with standards of right

or good conduct, a system of ideas of right and wrong conduct.

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Good is emphasized throughout the texts, and many of the characters attempt to

live up to high standards of moral conduct. The children are encouraged to respect

their elders, positions of authority, and to assist others. Although Harry, Ron, and

Hermione are constantly breaking school rules this is important to the success of the

heroes’ journey. Kern writes, “Periodic escapes from rules and regulations are

essential to the success of fantastical stories. They create both tension and

excitement, and they allow characters to exercise freedom away from direct oversight

and constraint” (95). The characters are not generally breaking the rules to defy the

law, but are usually breaking the law to serve a better purpose. Once again, viewers

must agree because the surveyors unanimously voted that the characters are morally

good.

Positive Moral & Ethical Traits found in Harry Potter Characters

100%

0%

YesNo

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Percentages found in Survey Results pertaining to Character Traits

The results to the character traits portion of the survey are listed below. The

male/female answers separated could make for an interesting study in the future and has

been included in appendix II.

The traits are not listed in any particular order, but are qualities and characteristics

which are defined in the meaning, or definition of a hero; a hero is distinguished by the

performance of extraordinarily brave or noble deeds. The survey looked at how

important each trait was to the viewer in order to determine what the audience was

looking for in a hero, and whether or not the characters in Harry Potter lived up to the

expectations of the viewers. The seven previous questions confirmed that viewers have

found the heroes in Harry Potter to include: Harry Potter, with 90% of the combined

votes; Ron Weasley 55%, and Hermione Granger 45%.

The characteristics possessed by Harry, Ron, and Hermione are the characteristic

traits which separate them for their peers while revealing society’s current ideals of

morality. A hero is someone who: always does what is right, never gives up on what is

important, is respected by others, is working hard to improve society not just for

themselves but for those around them as well, is loyal, caring, brave, selfless, and

humble. Harry, Ron, and Hermione are certainly recognized heroes and surveyors have

identified in the chart below that these heroes do possess the characteristics traits of a

modern day her.

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Percentages found in Survey Results pertaining to Character Traits

TRAITS Major reason

Minor reason

Not a reason

Not sure

Decline to

answer

Not giving up until the goal is accomplished 95% 5% 0 0 0

Staying level-headed in a crisis 70% 30% 0 0 0

Doing what's right regardless of personal consequences 95% 5% 0 0 0

Doing more than what other people expect of them 55% 30% 15% 0 0

Willingness to risk personal safety to help others 85% 10% 5% 0 0

Not expecting personal recognition 45% 35% 20% 0 0

Commanding the support and respect of others 90% 35% 35% 0 0

Changing society for the better 45% 25% 25% 0 5%

Overcoming adversity 90% 10% 0 0 0

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Recommendations

This thesis would benefit from a more in-depth study of the social issues directly

related in society versus those in the film. Looking at the current political landscape and

how the social themes within the movies are portrayed in relation to the current political

ideologies would enhance and enlighten why certain social themes are depicted versus

other themes. For example, movie four, The Goblet of Fire focuses on International

Cooperation and is written and made during a time when the political landscape is

fighting for mutual understanding through war and political commentary.

This thesis may also benefit by directing some of the research toward media

literacy and the role the media has played in the popularity, and impact of the Harry

Potter series. Since the series is highly popular and is surrounded by a great deal of

controversy it is important to look at the role the media has played in the life of the books

and the movies. What impact has marketing played in the popularity of this series, is

Harry a cultural product because the audience genuinely fell in love with him, or has the

media manipulated audiences into wanting a cultural marketing product. After all, the

output of the entertainment industry is a cultural product which is a message of artistic

creations popularized by the mass media for pure economic value. Are cultural industries

turning contemporary myths into serialized merchandise while detracting from the true

purpose of a mythological fantasy-themed story?

The primary research would benefit from studying the differences in male and

female responses. How and why do women vote for certain characters while their

counterparts vote for other characters? The thesis might also benefit by looking at the

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number of women versus men in viewership of fantasy-themed movies and the

relationship of women choosing to watch Harry Potter versus other fantasy-themed

movies.

A deeper study of why the masses relate to Harry and his friends would also be

beneficial in extending the thesis. The first book became popular by word of mouth.

Once readers begin reading and passing the books along readership not only picked up,

but marketing increased, adding to the popularity. The first book became a best seller

while Rowling was working on the second book. When you know someone who is

reading or has seen the movies there is a sense of community between those who share

the commonality of being a part of Potter’s world. Each viewer and readers identifies

with the mythological narrative on a deeper plane and create a community amongst one

another. A study looking at the community of Potterism would be interesting and

beneficial in both mythology and marketing studies.

A deeper character analysis of Ron and Hermione’s characters and perhaps a few

other characters, such as Dumbledore and Hagrid would prove relevant to this thesis.

Looking at Hermione from a feminist perspective and the relevance of her hero status

role within the series would be interesting and enlightening. A deeper analysis of

Dumbledore and his role as a mentor, an oracle, and father figure for Harry would prove

mythological theories accurate. And a look at Hagrid’s role in the life of all three heroes

would perhaps give more insight into the heroes journey and may even give deeper

meaning to character’s role within the existing narrative.

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Conclusion:

The Harry Potter series can no longer be considered just a series of children’s

books. The films and books alike have truly achieved a cultural icon status transcending

borders throughout the world. “It connects with something intrinsic to the human spirit,

uniting in their admiration and deep enjoyment people from vastly social and cultural

backgrounds” (Bridger 139). People all over the world are identifying and relating to the

“boy who lived,” and his friends. Harry Potter reminds adults of their childhood, and

allows children the opportunity to dream, and believe that they can make a difference in

their world.

While Harry Potter, Ron Weasley, and Hermione Granger entertain audiences, on

a deeper level they have the ability to bring out the eternal child in everyone. These

characters do not possess superhuman strength or seem superior to other characters

within the narrative, because of this they are identifiable to the audience. All three

characters are normal everyday children. Harry is not physically strong or violent, he

struggles in school, he struggles with friendships, personal insecurities; yet he is brave

and selfless. Ron has stark red hair, freckles, wears hand-me-down clothing, even a

hand-me-down pet rat, never has any money, struggles with insecurities, friendships, and

he too has trouble in school; yet he portrays loyalty and kindness throughout. Hermione

has bushy brown hair, large teeth, is considered a bit of a nerd by her peers because she

does study hard, struggles with friendships; yet she demonstrates bravery and courage.

These characteristics are what make these movies so popular, everyone can relate to these

qualities because they have possessed one or more at different intervals in their own life.

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“Failure is one of the things that makes Harry’s adventures so appealing” (Kern 191).

People, like these characters, are not perfect it makes them human and real, and this is

what has made Harry and his friends so popular.

Heroes summarize individual desires and needs; Hollywood puts them on the big

screen so that audiences can be a part of their cultural mythological process. The

archetypes represented within the narrative makes the story universally appealing because

they are idealized versions of the cycles that every person undergoes in their own life –

childhood and learning how to adjust and conform to society, to the growing and

changing of adolescence, and the entrance into adulthood. This is the hero’s journey, a

monomyth cycle in which every human being must travel. Harry, Ron, and Hermione are

not religious heroes or historical heroes, but they are heroes who have come to reside in

today’s popular culture. In the imaginations of fans of everywhere, they have escaped the

ordinary, embarked on a fantastical journey, and are following their destiny. This is what

people do and the hero is the one who is brave enough to do what no one else will do,

step outside of their comfort zone and confront the challenge. Societies today can go to

the movies and allow the on-screen heroes to fight their battles. Viewers can transcend

into a world of fantasy where they relate to the hero while learning on a subconscious

level how to conqueror their own fears and inabilities. The hero is the culmination of

human potential, and Ron, Harry, and Hermione have come to represent the modern day

hero to audiences all over the world. Harry, Ron, and Hermione prove over and over that

magic does not make a hero, but knowledge, loyalty, courage, selflessness, and love is

what makes a modern day hero.

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Works Cited

Abanes, Richard. Harry Potter, Narnia, and The Lord of the Rings. Eugene Oregon Harvest House Publishers (2005).

American Heritage Dictionary. Fourth Ed.: Houghton Mifflin Co. (2002) http://education.yahoo.com/reference/dictionary/ Bancks, Tristan. "Beyond the hero's journey: 'Joseph [Campbell] is my Yoda.'--George Lucas (1)." Australian Screen Education 33 (Winter 2003): 32(3). Expanded Academic ASAP. Thomson Gale. Charleston County Library. 11 April 2006 <http://find.galegroup.com/itx/infomark.do?&contentSet=IAC-Documents&type=retrieve&tabID=T002&prodId=EAIM&docId=A112130487&source=gale&srcprod=EAIM&userGroupName=chascol&version=1.0>. Brennan, Kristen. Star Wars: Origins. Jitterbug Fantasia: 2006. http://www.jitterbug.com/origins/index.html BBC News. (October 31, 2005). http://news.bbc.co.uk/2/hi/entertainment/4394094.stm

Campbell, Joseph. The Hero with a Thousand Faces. Fontana Press (1993). Campbell, Martin, Fabos, Media and Culture. Bedford/St. Martin’s: Boston (2004).

Cook, Albert. Myth and Language. Indiana University Press: Bloomington (1980). Day, Sean, Phd. Personal Interview. 17 March, 2006. Dirks, Tim. “Fantasy Films.” The Greatest Films. (2006) 08 April, 2005. http://www.filmsite.org/fantasyfilms.html Dominick, Joseph R. The Dynamics of Mass Communications, Media in the Digital Age. McGraw-Hill: 2004. Eccleshare, Julia. A Guide to the Harry Potter Novels. Continuum: London (2002). Edelstein, Dan. "Between myth and history: Michelet, Levi-Strauss, Barthes, and the structural analysis of myth.(Jules, Michelet, Claude Levi-Strauss, Roland Barthes)(Critical Essay)." CLIO 32.4 (Summer 2003): 397(18). Expanded Academic ASAP. Thomson Gale. Charleston County Library. (2006) Ember, Carol R., Ember Melvin, Peregrine, Peter N. Anthropology. New Jersey: Prentice Hall, 10th ed. (2002). 464-465. Gaines, Ann. J.K. Rowling A Real-Life Reader Biography. Delaware: Mitchell Lane Publishers, 2002.

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Hirschman, Elizabeth. Heroes, Monsters, & Messiahs. Andrew McMeel Publishing: Kansas City (2000). Indick, William Ph.D. “Classical Heroes in Modern Movies: Mythological Patterns of The Superhero.” Journal of Media Psychology Vol. 9, No. 3: (Fall 2004). Internet Movie Data Base Inc. “All-Time Worldwide Boxoffice.” (2006) http://www.imdb.com/boxoffice/alltimegross?region=world-wide Kern, Edmund. The Wisdom of Harry Potter. Prometheus Books: New York (2003). Klages, Mary Dr. “The Structural Study of Myth in Adams and Searle.” ed., Critical Theory Since 1965.” (2001). Kirk, Connie Ann. J.K. Rowling A Biography. Greenwood Press: Connecticut (2003). Levi-Strauss, Claude. The Naked Man. New York: Harper & Row (1989). --- The Structural Study of Myth. London: Tavistock Publications (1967). ---Structural Anthropolgy. Basic Books, Inc: New York (1963). Monteith, Ronald Reverend. An interview via e-mail. March 18, 2006. Moyers, Bill. Joseph Campbell The Power of Myth. Doubleday: New York (1998). Neal, Connie. The Gospel According to Harry Potter. Westminster John Knox: London (2002). O’Neil, Terry. “Harry Potter photo.” Warner Brothers. (2000). http://movies.warnerbros.com/harrypotter/cmp/newsflash-fr.html

O’Shaughnessy, Michael. Media and Society. Oxford University: New York (1999).

Rowling, J.K. Harry Potter and the Sorcerer’s Stone. Thorndike: Thorndike Press (1997). Schafer, Elizabeth D. “Exploring Harry Potter” Beacham’s Sourcebooks. (Canada: Beacham, 2000). Strenski, Ivan. Four Theories of Myth in Twentieth-Century History. University of Iowa Press: Iowa (1987). Trevisick, Shaun, dir. Discovering the Real World of Harry Potter. 2002. London: Atlantic Productions. DVD. Distributed by: Questar.

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“The World’s Richest People.” Forbes Magazine (2/26/04). http://www.forbes.com/2004/02/25/bill04land.html Viswanathan, Kaavya. “Growing Up with a Dose of Magic.” New York Times July 31, 2005. http://www.nytimes.com/2005/07/31/opinion/31kaavya.html?ex=1280462400&en=a3ca45e225421d38&ei=5090&partner=rssuserland&emc=rss Walker, Andrew. CBS News Interactive. http://www.cbsnews.com/stories/2003/06/20/earlyshow/leisure/books/main559574.shtml Watson, Julie. “Harry Does it again for J.K. Rowling.” Forbes. (June 2004). http://www.forbes.com/billionaires/2004/06/07/cx_jw_0607harrypotter.html

Appendix I

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1. What is your age?

○18-24 ○25-31 ○32-38 ○39-44 ○45-51 ○52-58 ○59- and older

2. What is your gender?

○Male ○Female

3. Which four Harry Potter films have you seen? Mark all that apply:

○The Sorcerer’s Stone ○The Chamber of Secrets ○The Prisoner of Azkaban ○The Goblet of Fire

4. Have you watched fantasy fiction themed movies, such as Harry Potter, Lord of the Rings, The Hobbit, or Narnia?

○Yes ○No

5. Do you have children who have read or seen the movie versions of Harry Potter; and if so what are their ages?

○Yes Ages: ___________________________ ○No

6. Do you consider any of the characters in Harry Potter to be heroes, and if so which ones?

○Yes Hero/Heroes: _____________________________________________ ○No

7. Do you find any of the characters in Harry Potter to possess positive moral and ethical traits which are beneficial in everyday society?

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○Yes ○No

The dictionary defines a hero as a person "distinguished by the performance of extraordinarily brave or noble deeds." How important are the following traits in your decision to call a fantasy themed character a hero?

TRAITS Major reason

Minor reason

Not a reason

Not sure

Decline to

answer

Not giving up until the goal is accomplished

Staying level-headed in a crisis

Doing what's right regardless of personal consequences

Doing more than what other people expect of them

Willingness to risk personal safety to help others

Not expecting personal recognition

Commanding the support and respect of others

Changing society for the better

Overcoming adversity

Appendix II

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This research was not created to look at the comparison of men and women and

their mythological viewing habits. However the differences in answers are interesting

and perhaps useful for future research in looking at how women view mythological story

compared to how men view mythological story telling. Possible research could look at

how and why men and women view mythological narratives and compare and contrast

their differences.

Men’s Individual Survey Results

Decline to

answer TRAITS Major

reason Minor reason

Not a reason

Not sure

Not giving up until the goal is accomplished 100% 0 0 0 0

Staying level-headed in a crisis 60% 40% 0 0 0

Doing what's right regardless of personal consequences 100% 40% 10% 0 0

Doing more than what other people expect of them 50% 40% 10% 0 0

Willingness to risk personal safety to help others 90% 10% 0 0 0

Not expecting personal recognition 50% 40% 10% 0 0

Commanding the support and respect of others 20% 40% 40% 0 0

Changing society for the better 40% 30% 30% 0 0

Overcoming adversity 90% 10% 0 0 0

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Women’s Individual Survey Results

TRAITS Major reason

Minor reason

Not a reason

Not sure

Decline to

answer

Not giving up until the goal is accomplished 90% 10% 0 0 0

Staying level-headed in a crisis 80% 20% 0 0 0

Doing what's right regardless of personal consequences 90% 10% 0 0 0

Doing more than what other people expect of them 60% 20% 20% 0 0

Willingness to risk personal safety to help others 80% 10% 10% 0 0

Not expecting personal recognition 40% 30% 30% 0 0

Commanding the support and respect of others 40% 30% 30% 0 0

Changing society for the better 50% 20% 20% 0 10%

Overcoming adversity 90% 10% 0 0 0

Appendix III

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Questionnaire used for interviewing Reverend Ronald Monteith, MA Theology:

1. Do you watch fantasy themed movies, such as Harry Potter, Narnia, Lord of the Rings and The Hobbit?

2. Do you watch strictly for entertainment purposes, or do you watch from a critical

perspective, and if so why?

3. Do you have children? Do you allow them to watch fantasy themed movies?

4. Do you think it is okay for people in society, or even in your own congregation, to participate in watching fantasy themed movies?

5. Many preachers and others in society think fantasy themed stories are satanic and

occult like, what do you think of these opinions?

6. Why do you think people watch fantasy themed movies, and are drawn to movies such as Harry Potter, Narnia, Lord of the Rings, The Hobbit, and even Star Wars?

7. Some people say that society is searching, and this is what draws them to

fantasy/mythical themed movies; what do you think?

8. Do fantasy themed narratives teach societal lessons? Do they always have to have a religious base?

Answers:

1. Yes!! From the original release of Star Wars , to Star Trek, the Alien series, Lord of

the Rings, The Lion, the Witch and the Wardrobe, Disney cartoon feature films, The

Never Ending Story, The Labyrinth, Star Trek the TV series, Etc, Etc, Etc

2. I watch for the entertainment value solely. No other motive is present when watching

a fantasy movie.

3. I have four children (ages 13, 11, 9, & 7) and I allow them to watch pre-screened

fantasy movies; pre-screened by myself or my wife. We screen for nudity, sexuality,

obscene language, satanic overtures, anti-God themes, immense amounts of blood and

gore, and any other possibility that we as their parents deem potentially harmful.

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4. Yes, is the answer to the question with explanation? There are some movies that are

inappropriate, whether they are fantasy or not. Glorification of and or exposure to

immorality and other ethical wrongs is WRONG! With that said I am not the conscience

of people. Each person in my congregation must decide for themselves what they are

going to view. I am not their judge, nor do I pronounce myself to be. My desire is to see

people make right choices because of their love of the Lord, and not out of guilt from the

pastor’s sermon. When it comes to the paid staff and lay leaders of my church they are

held to higher standards than the congregation when it comes to viewing movies. I would

add that they were informed of this before they were hired or appointed and they

willingly agreed to uphold the standards given them. The underlying thought here is

right and wrong! Are there universal right and wrongs?? If the answer is "NO" then we

as a race of people are free to do whatever we so choose. If there is no true right and

wrong there is no accountability to a Holy God. I choose to believe that there is universal

morality and that we as a race and individuals will all have to give an account of our lives

before a Holy God. My faith in the one God binds me to higher standards than those of

my own. My values and life principles come from the Word of God which is from God

himself. He then having set the standard for right and wrong is to be followed and

obeyed. I might add obeyed out of love and not fear. Free will is what makes God so

incomprehensible. He allows each of us to choose for ourselves what path to take in life,

including what movies we should or should not watch. But no matter what path we

choose in life there are and will be consequences.

5. Question 5 is answered in question 4.

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6. Why do you think people watch fantasy themed movies? Escape is the primary reason

people watch fantasy movies. We all at some time or another want to escape the

monotonous life we live; if not monotonous, then a hurtful or painful life. To be

somewhere else even if just for a short period of time (two or three hours) brings a degree

of hope and joy. Another reason people watch fantasy movies is they tend to live

vicariously through the characters they watch. To be heroic, courageous, honorable or

some other virtuous character trait is what most would like to have. To imagine one's

self in the best light possible is something that fantasy movies offer to those who live

through the characters. Another possible reason for the appeal of fantasy movies is to see

good fight against evil and not always win but give 100% effort in the attempt to win.

The struggle of good and evil in fantasy is usually clear and easy for most to identify

with. The struggle itself becomes a draw for the viewer. The fight and not necessarily

the outcome hold merit.

7. Is society searching and is that a draw to people to fantasy movies? YES!! People are

searching for something. At the core all people need: love, fulfillment, purpose and

satisfaction. The problem is how they go about finding these things: Drugs, alcohol, sex,

power, money etc. People are looking for answers but in all the wrong places. After a

while it's found that these things and others do not bring answers to life's questions.

Fantasy movies appear to offer some of the things we as people are looking for but the

trap is that it's only for a short time; thus, the draw of another movie and another chance

to feel good even if only for a moment. But in the end fantasy movies will fall well short

of answering life's questions. There is only one that can give us the answers to our

questions and meet our needs: Jesus! John 14:6.

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8. Yes, narrative films can and often do teach societal and moral lessons to society, and

can be used as a teaching tool. A fantasy movie can be made for pure entertainment

value and have no intended moral or lesson. Certainly not ALL fantasy movies have to be

religious based. The blessing of America is the freedoms guaranteed by our constitution

that there is no state religion and thus not all or any have to be religious. This would

include fantasy movies.

Appendix IV

Interview with Sean Day: MA English; MA Anthropology; Phd English

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There are different purposes in storytelling: first to entertain, then to teach a

lesson, provide purpose, and share wisdom. Mythos is used in teaching the culture how

to conform to the already existing framework within the culture. The intercession of

conformity and non-conformity are important, because in order to survive within a

culture it is often important to conform to the social rules of that society. However one of

the characteristics of a hero is to be a non-conformist, and although Rowling allows

Harry to conform to rules within his boarding to some degree, he is still a rule breaker.

Hermione is a rule breaker, although she spouts off rules and cites them religiously she

too breaks them; however Ron is very much a conformist because he is constantly trying

to be non-conformists, but he always ends up following the rules or the rules of those

around him. Rowling is not doing anything new, she is introducing new concepts but

putting them into an old frame, she is forcing the viewer/reader to think about what is

expected from them within their own society.

One of the reasons Rowling’s is popular is because she is imparting motherly

wisdom to her audience. Another message Rowling brings to the audience is the need for

social change and acceptance. An important lesson she is trying to teach her audience is

the benefit of introducing other cultures, international cooperation, and the need to

include cultural studies through a formal education. It is important for all of us to be

aware and respective of other cultures; it is relevant in today’s world for cultures to learn

to get along and to work together.

Reading and viewing Rowling has become a rite of passage, a social status. If

you are a fan of Rowling’s, Harry Potter, then you become a part of an elite group.

Reading literacy is vital to a cultures survival and growth; and Harry Potter, unlike any

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other book except for maybe Tolkien’s Lord of the Rings, has created a society of

individuals who have subscribed to the mythos surrounding Harry Potter. Rowling’s is

trying to teach, and impart motherly wisdom; she doesn’t subscribe to knowing all the

answers. She simply gives the viewer/reader the problems often faced within society and

when she can give the answer to why she does, and when she can’t she simply leaves it

without making the assumption of knowing everything, audiences can relate.

Appendix V

Outline:

I. Introduction

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II. Premise Statement and Limitations III. Methodology IV. Literature Review V. Harry Potter: A Modern Day Media Hero

a. J.K. Rowling b. Harry Potter: Plot background c. Cultural Importance of Fantasy-themed Stories d. The Mythological Development from Oral Interpretation to the Hollywood

Screen e. Claude Levi-Strauss f. Carl Jung g. Joseph Campbell h. Myth, Imagination, and Fantasy i. A Modern Hero j. The Morality of Harry Potter

VI. Data Analysis VII. Recommendations VIII. Conclusion IX. Works Cited X. Appendices:

a. Thesis Survey b. Survey Results c. Personal interview with Reverend Monteith d. Personal interview with Dr. Day e. Thesis outline f. Film information g. Campbell’s monomyth chart

Appendix VI

Film Information:

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1. Harry Potter and the Philosopher's Stone (Harry Potter and the Sorcerer's Stone in the United States)

o Release: 16 November 2001 o Director: Chris Columbus

2. Harry Potter and the Chamber of Secrets o Release: 15 November 2002 o Director: Chris Columbus

3. Harry Potter and the Prisoner of Azkaban o Release: UK: 31 May 2004, USA: 4 June o Director: Alfonso Cuarón

4. Harry Potter and the Goblet of Fire o Release: 2005; Singapore, Malaysia, Sweden: 17 November; UK, USA,

and other countries: 18 November; o Director: Mike Newell

5. Harry Potter and the Order of the Phoenix o Release: UK, and USA: July 13, 2007 Germany: July 12, 2007 Australia:

September 6, 2007 o Director: David Yates

6. Harry Potter and the Half-Blood Prince o Release: 2008 o Director: Unknown

http://en.wikipedia.org/wiki/Harry_Potter#The_films

Appendix VII

Campbell’s Monomyth Chart

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(Campbell 245).

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